Gelphiesdaughter🌺🌴🍂

Maestro

I honesty just watched this for matt bomer🫦

congratulashayla

Maestro

Eu poderia perder tempo dissertando todos os problemas desse filme, mas vou me atentar ao que eu gostei mais... Então o filme poderia facilmente se chamar "A Esposa do Maestro" porque nada nesse filme além da Carey Mulligan presta. O filme não sabe se homenageia a estética do cinema antigo, se vai na onda do cinema novo, se é um musical, se é um filme musicado, mas uma certeza eu tenho, o Bradley Cooper deve saber algum podre muito grande da Acadêmia pra ter sido indicado porque olha... Todo momento eu pensava, se eu puxar o nariz e as orelhas dele... Será se sai? Enfim, Carey Mulligan dividindo tela com o Cooper é até injusto, ele é engolido toda vez e por favor alguém dá uma pastilha pra ele, esse ranho na garganta não é coisa boa.

martin

Maestro

The English title for this movie is "Maestro." I don't know why, because it isn't about music or orchestras, but about a professor promising to write a recommendation letter to one of his female students, tells her he likes her, and when she rejects him - rescinds his promise. So, it would've been better if it was called "Professor" or "Recommendation Letter." Or maybe even "Oleanna" because it is very heavily influenced (without the ending and with reversed physical violence) by Mamet's play and movie. But before I speak about the content of the movie, I must first mention its execution. I almost never mention much about the technical aspects of a movie. This isn't good, because movies are first and foremost products of technology, but these aspects always slip away from from what I write. I guess, if it's acceptable or fits the movie, I think it unimportant to mention that a movie looks or sounds okay. I only do it if a certain part is very good or bad or it doesn't fit. The last two are the case with "Maestro." The sound mix is one of the worst I've heard in a newish movie in the past few years, I think. The levels of different environmental sounds and unimportant background dialogues are all over the place - sometimes incredibly loud, and others they are as quiet as almost inaudible. It's so perplexingly bad, that for the first few minutes, I thought I'm listening to a bad dub. The way the sounds are placed in space is also weird. I have a pretty good sound system with accurate imaging, and majority of what I heard didn't make sense. If the sound is amateurish, the camerawork is simply not fitting. Almost the entire film is shot in a very kinetic and jittery handheld style that for some reason reminds me of both Succession and Bandage. But whereas it fits the worlds and atmosphere of these works, it doesn't fit this one. It makes this slow, dialogue-heavy piece. It makes it feel anxious, and it shouldn't. Even if we manage to get past the problems of the technical execution, the movie does not provide us with anything substantial or interesting. If anything, it is worse than "Oleanna," and that was already not a good movie. The reasons for that are two. First, it asks us to question the validity of an accusation that shouldn't be questioned. The professor is accused of sexually abusing the female student, but we don't see that. It doesn't matter if we saw it or not, because what is presented onscreen - an overt familiarity on his side, indications he's stalking her Instagram, and a declaration of love towards the end of the first part - are more than enough. It doesn't matter much what she did or said or didn't say to him in order to get the recommendation letter she needs, because their relationship is based on very clear hierarchical inequality. He is a person with power over her life and future. Him saying he likes her, even though she shows she's uncomfortable with it, is nothing short than abuse of power, and something he can and should be judged for. The second is that the movie removes almost all agency from the female character and gives it to her fiance. The one who accuses and attacks the professor is another man, not the woman he abused. In the world of the movie, it is men who have control over the women and can and should speak for them. This makes it an even more boring experiences, because it ends up being two guys measuring who's the biggest man, and not the exploration of guilt, power, submission, and the patriarchy it could've been (and it pretends it is). That's too bad, because Mohammad Madjooni is gripping and impossibly charismatic as the professor.

joaomarco2003

Maestro

Oposto ao aprumo demente de Nolan na oscilação da fotografia preto e branca com a colorida em Oppenheimer, aqui, Bradley Cooper utiliza essa transição para sublinhar o contraste entre os dois períodos dramáticos da vida de Bernstein. Nesse sentido, a dita "firulagem" do cineasta na primeira metade auxilia a realçar a jovialidade energética do maestro através de transições no espaço pela montagem, intercalando um plano no outro. E a disparidade está na sobriedade mais pomposa da segunda metade, que até encontra dinâmicas contemporânea com a câmera para ratificar esses estágios, transformando o encanto nostálgico do terço inicial em uma série de recordações melancólicas que atormentam seus personagens no presente - o plano final que atua como registro do passado que, agora, reside apenas na mente do seu protagonista (https://64.media.tumblr.com/216aadab8fec5b7989982e7de73bca0b/649803190da24d2d-67/s2048x3072/999db05a998092d7edd2b248003dbb84554397b8.png).