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Juror # 2 , which rumours suggest may be Clint Eastwood's final directed film, expresses discontent with how justice is carried out in the United States. In Jonathan A. Abrams' sometimes cynical screenplay, the judicial system itself is judged for the way personal interests take precedence. This trial involves juror Justin (Nicholas Hoult), who wants to return home quickly because his wife Allison (Zoey Deutch) is about to have a baby, and prosecutor Faith (Toni Collette), who intends to "close" the case promptly because she's campaigning for election. Upon arriving at the courthouse in Savannah, Georgia, Justin is worried about his wife, who previously experienced a miscarriage. He focuses and hopes for unanimity in the jury until he realizes that he himself might be guilty of running over the victim . Recovering from alcoholism, Justin was at the bar where the defendant, James (Gabriel Basso), had a serious argument with his girlfriend Kendell (Francesca Eastwood, the director's daughter) on a rainy night. She left alone to return home, he followed her in his truck; and sometime later, she was found dead. Eastwood does everything to "delay" the verdict The incident is reconstructed through the versions of prosecutor Faith and defence attorney Eric (Chris Messina). At the same time, Justin deals with his own fragmented flashbacks from the night of the alleged homicide. When the jurors are called to deliberate, it becomes clear that both sides have weak arguments: although the defendant is clearly suspicious, the autopsy is inconclusive, and the only witness proves unreliable. Eastwood does everything to "delay" the jury's consensus, where retired police officer Harold (J.K. Simmons) begins to doubt the prosecutor's version. At the same time, juror Marcus (Yarbrough) is certain of the defendant's guilt. Tormented by his memories, Justin opposes a quick conviction, but without exposing himself, as he knows no one would believe he wasn't drinking that night . After the trial concludes and life returns to normal for everyone, Faith goes to Justin's house. He answers the door and the two stand face to face in silence.

Jojo Rabbit (Roman Griffin Davis) is a ten-year-old boy who lives in Germany in the late years of World War II. Therefore, it is understandable and very normal that his role model is a character considered heroic by the German nation of the time: Adolf Hitler (Taika Waititi), who is even his imaginary friend. Of course, creating a caricature view of the Führer can be problematic within a current film. Still, director Taika Waititi conducts the narrative to superimpose fantastic and funny scenes with painful moments and extreme violence. Accustomed to a conscious and enlightened view of the barbarities of the Third Reich, we tend to call banality the treatment given to the pathetic Hitler. Actually, the apparent innocence of the German leader generates his strength, both for children and for infantilized crowds who idolize him as a good companion. Thus, Johannes tries to insert himself into the Nazi youth. Still, his pure and innocent nature does not adapt naturally to the culture of the destruction of the enemy that characterizes the ideology of the dominant culture at the time. However, bullying is mitigated by the ambiguity of the training camp commander, Captain Klenzendorf (Sam Rockwell), who is sometimes ruthless and sensitive. When, after an accident with a grenade, Jojo is forced to stay at home, he makes a discovery that is the great twist of the film: his mother, Rosie (Scarlett Johansson), hides a Jew, the young Elsa ((Thomasin McKenzie), in an attic bedroom closet. The character's introduction creates tough questions for the kid, and liking the clandestine resident is the least of them. Suddenly, the aspiring Nazi becomes intimate in real life with a girl he thinks is a monster and begins to walk away from a monster he thinks is a friend. And what's worse, not being able to report her so as not to put your mother at risk. Naturally, history follows its course and everything that has to happen happens. The movie's end is somewhat melancholy without the contradictions that move it.

The Phantom Carriage is a 1921 silent movie that impresses with its consistency, soundtrack, regular use of flashbacks - a technique still recent in films - and special effects. Taken in double exposure, expertly recorded by the cinematography of Julius Jaenzon and director Victor Sjöström, they portray spirits detaching from the bodies. The story begins on New Year’s Eve with the kind SalvationArmy nurse Sister Edit (Astrid Holm) on her deathbed with pneumonia. Even in her last moments, she insists that she needs to see David Holm (Sjöström himself) because she wants to make sure she saved her soul. In the city cemetery, David, an evil man who abandoned his family for alcohol, drinks with two friends and speaks of his companion Georges (Tore Svennberg), who disappeared on December 31 of the previous year. We discover later that he actually died that day and that this occurrence subjects people to a curse. Whoever dies on the last day of the year must drive the chariot of death for the next twelve months. David discovers this in the worst possible way. When arguing with friends, he ends up murdered, and it is Georges himself, as the driver of the sinister vehicle, who transfers the curse to him. But before that, the former companion takes David on tour for all the mistakes made in the past. In a series of flashbacks, we witness all the drunkard’s torments to his family, to the point that his wife (Hilda Borgström) did not want to continue living. We also see all the suffering of Edit, who committed for a year to save the soul of the alcoholic, even getting infected by him with the disease that is taking his life. At the last moment, face to face with the spectre that will lead her to the world of the dead, the salvationist still tries one last miracle. The macabre film was watched by a child named Ingmar Bergman who, years later, would invite Sjöström to his film Wild Strawberries , coincidentally about death.

JORGE MARIN 31 minutes ago 2 min read Juror #2: between guilt and conviction 1 0 comments 0 Post not marked as liked JORGE MARIN Jan 23 2 min read I'm Still Here is contained and devastating 9 0 comments 0 Post not marked as liked JORGE MARIN Mar 24, 2024 2 min read There's something sad about Aftersun 5 0 comments 0 Post not marked as liked JORGE MARIN Jan 1, 2024 2 min read Killers of the Flower Moon is magnificent 3 0 comments 0 Post not marked as liked ALL POSTS DREAMS ON SCREEN Going to the cinema is like premeditating a dream or borrowing other people's dreams. READ MORE

WHO AM I DREAMS ON SCREEN Going to the cinema is like premeditating a dream or borrowing other people's dreams. An unconditional fan of Roger Ebert, I agree with the most significant film critic of all time when he says that a gift that "a movie lover can give another is the title of a wonderful film they not yet discovered." Filmes Fodásticos are priceless gifts. I hope you like it. It's from the heart! CONTACT US TO RECEIVE NEWS Name Email Subject Leave us a message... Send Obrigado pelo envio!

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