The lights and the shadows, the recesses and the protrusions, the ascents and descents, all the ambivalence that can exist in each one’s spirit, frees us from the perdition that never ceases to lurk in human nature, but also plunges us into a plethora of situations in which the siege closes to the point of attacking us with the clear impression, wrapped in varying degrees of certainty, that we live in a parallel universe, a magical place, holy and diabolical, where crimes of all kinds take place, good and bad changes dress and place without any ceremony and life takes on a wildly imaginative aura, making it impossible to separate that which has value and, therefore, must be preserved, from that which only borrows the vigor of that which it sustains and emulates the force which will never have. In these moments, we are then forced to create new ways of relating to the world – or, in other words, to what we understand the world to be – which, in turn, transforms a thousand times a second, progresses and declines without our being able to do anything about it, except trying to adapt, or to have less unbridled expectations about life and its mysteries, a process that often leads to obsession, paranoia, frustrations, melancholy, sadness, death.
The fundamental maladaptation of man with the environment that surrounds him, existing, other men come to remind us that the mechanisms of repression can never disregard the routine of ordinary citizens, who believe themselves capable of freeing themselves from the obstacles to their happiness. hardness of reality as possible, which, of course, it cannot do. If the common man realizes that it is not up to him to undertake such profound changes, individuals who are psychically decompensated and prone, due to their crooked constitution, to extralegal adventures that lead to danger, prison or tragedy are sure that life is what it is. they want, and this is the line between chaos and hell. All seven of the titles we’ve rounded up in the list below reference, in one way or another, this fundamental dichotomy of the human spirit, and still manage to be among the big news on Netflix that deservedly claim a moment. of their time. Beloved by ten out of ten viewers around the world, the Mexican Alejandro González Iñarritu is one of the names that emerge in the mad race for the Oscars 2023 with “Bardo, False Chronicle of Some Truths”. If El Negro shines with the story of a journalist exiled in his own life, Rian Johnson reissues the sensational success of “Entre Facas e Segredos” with “Glass Onion: Um Mistério Knives Out”, in which he delves into the, shall we say, eccentric games of rich people as bored as they are crazy. Added to the other four, the three features are cited by Bula readers as the great cinematic moments on Netflix in 2022 and are all releases, with the exception of “Entre Facas e Segredos”, from 2019. We have maintained the usual criteria, in order alphabetically and from newest to newest debut, and we look forward to your return. Tell us which one is your favorite and a 2023 is already full of good surprises and more excellent movies.
Bardo, false chronicle of some truths (2022), by Alejandro González Inarritu
Rodrigo Jardon/NetflixAlejandro González Iñárritu seems to remain steadfast in his determination to no longer tolerate the cynical delicacies that sustain the world. In “Bardo, Falsa Crônica de Umas Verdades,” Iñárritu embodies many of the neuroses not only of mankind, but of the Americas, of the history of the American continent, of the glory and misfit of being an artist in an age of violence perpetrated in the ways more diverse than messages that condemn, words that kill. El Negro, as he is known in Hollywood, already has five Oscars under his belt and this most recent work of his – full of all the originality and all the mannerisms that the Academy tends to fall in love with – looks like it will join the other small golden men from mexican. With his thirteenth film, the director tends to open up his shock a little more in the face of the massive ignorance that governs our days, widespread in the most unusual and most urgent fields.
Glass Onion: A Knives Out Mystery (2022), by Rian Johnson
John Wilson/NetflixIn “Glass Onion: A Knives Out Mystery”, second film of a plot that has a lot of firewood, Rian Johnson keeps the line of a well-crafted suspense, opening the dramatic horizon of the types he presents, bored rich people who are dedicated to silly but dangerous games to forget their irrelevance. Alluding to a song by the Beatles, Johnson’s screenplay illuminates the many apparently translucent layers of human relationships, capable of filtering all the light that can pass through them and pouring it into an energy that is not very beneficial. How could it be otherwise, the director continues to venerate Agatha Christie (1890-1976) – in a very original way, let’s face it – except for the comic passages that lend themselves to a well-dosed seasoning for a tasty narrative, a style of which the Lady of the Crime she certainly wouldn’t resent it.
Hell Dogs: House of Bamboo (2022) by Masato Harada
Disclosure / NetflixAdapted from the manga of the same name signed by Akio Fukamachi, “Hell Dogs: The House of Bamboo” is an example of how far this genre goes, mixing text, image and action. Veteran of Japanese cinema and animation, Masato Harada, in turn, has been a point of reference in directing films that have avoided the obvious for four decades. In this work, released in September 2022, Harada manages to preserve the aura of fantasy typical of manga while defining a clearly cinematic path for the feature film, which overlaps plots and twists without missing a beat. The writer-director takes the original narrative as a basis, but also advances on other fronts, highlighting his dynamism. Harada bets the blood of Fukamachi’s stories as a smokescreen in which a cornucopia of false clues obscures the environment and encourages the audience to delve deeper into what is being told.
Hereditary (2022) by Ari Aster
Information / A24For the characters of “Hereditary”, human miseries resound like the bells of a strange cathedral lost in the desert, reverberating that noise to the ends of the world in the memory of eternal damnation. Ari Aster makes his film a kind of cauldron into which he pours the plethora of old wounds and many other damned feelings that afflict a family, boiling them slowly until the substance emerges from this broth with which he elaborates a plot marked by resentment. . First, however, the director engages in the game of cat and mouse that spans three generations, and with what is formed from this process builds a poignant story, which continues to hurt even after more than two hours of screening, spent in a between agile and thoughtful, but never dragged. All part of a winning strategy in terms of hypnotizing the audience, heightening the suspense and turning them into a psychological terror that goes beyond the tension and also disturbs the physical disposition of those who dare to watch to the end.
7 women and a mystery (2022), by Alessandro Genovesi
Disclosure / NetflixThe characters of “7 Mulheres e um Mistério” are, after all, prisoners – of themselves, of each other, of the life they don’t have – and they fight a silent, unspoken war – against the life they have and that do not think they have merit, against their closest rivals, against what they have become. Imprinting his style on “8 Women” (2002), the comic thriller by François Ozon based on the play of the same name by Robert Thomas (1927-1989), performed on the Parisian stages in 1958, Alessandro Genovesi gives new life to a genre full of possibility in its multiple inventions, entertaining while also entirely punctuated by melancholic, even sad notes, from which emerges a tragedy that avoids being consumed, avoids the inevitable fatality that composes the fate of the female types in question and takes its place in the last act , in the last scene, always softened by the text full of fantasy by Genovesi and Lisa Nur Sultan, screenwriter expert in arousing dangerously contradictory sensations in the public, in which pity and repulsion go hand in hand, as seen in “Na Propria Pele – O Case Stefano Cucchi” (2018), also directed and written by Alessio Cremonini, his reconstitution of a barbaric crime against a victim who transgressed the limits of what was mo generally adherent missible.
White Noise (2022) by Noah Baumbach
Wilson Webb/NetflixDeath suits the protagonists of “White Noise”, the new comedy of the absurd by Noah Baumbach, an astute observer of human nature in the theater of the possible and, more emphatically, of the impossible, of life, without one or the other of these clippings either collide with each other or interfere with the course of the eternal paranoia that defines humanity. Baumbach re-edits some of the elements he used in the incensed “Marriage Story”, starting with his main actor himself. Adam Driver leads a storyline in which the plunge into the lowest of men seen in the 2019 film — an airy adaptation of Bergman’s sinister “Scenes from a Marriage” (1973) — continues to be present, but fits perfectly into the immanent (and mocking) cynicism of Don DeLillo, on whose novel the director’s text is based.
Knives Out (2019), by Rian Johnson
Disclosure / MRC EntertainmentRian Johnson is one of many directors who worship, in his own way, the queen of crime. British writer Agatha Christie (1890-1976) continues to serve as the basis for a multitude of suspense films, which can clearly be seen here. However, in “Knives Out”, Johnson disrupts the established order of the genre and transfigures the narrative, it no longer matters who did what, but at what point in the story the killer will be reached. The dead man in question is Harlan Thrombey, famous author of suspense books – and the viewer loves these little metalinguistic games -, beheaded with refinements of cruelty at the age of 85 in his own mansion. Benoït Blanc, renowned detective with profile rights in “New Yorker” magazine and all, seems the only one qualified to solve the case, and soon concludes that, for one reason or another, everyone who lived with Thrombey they had many reasons to kill him. The points in common with “Murder on the Orient Express”, published in 1934, are undeniable, but “Entre Facas e Segredos” is original in revealing, in the second act, the circumstances in which the murder took place which supports the whole movie .
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