A soggy, slushy mess.
A writer, filmmaker and a film critic since 1994, Pablo Villaça wrote for many Brazilian movie magazines. In 2002, he became the first Latin-American critic to be part of the Online Film Critics Society, being elected its first non-English speaking Governing Committee member in 2011. In 2001, he won a theater award for adapting an old children's fairytale for the stage and in 2005 he published his first book, "O Cinema Além das Montanhas". He is also currently the film critic of Cinema em Cena (www.cinemaemcena.com.br), the oldest Brazilian movie website (which he created back in 1997) and also teaches Film Theory, Language and Criticism in courses all over Brazil, teaching more than 1,500 students since 2009. In 2007, he was the only non-US film critic to be invited by the Museum of the Moving Image and The New York Times to participate on a week-long seminar on Film Criticism. In 2008, he directed his first short film, "Ethics" and in 2011, he wrote and directed his second short film, "Blind Death."
FFC Pablo Villaça explores the themes at the heart of Denis Villeneuve's sci-fi film "Arrival."
Pablo Villaça reports on the sad status of Brazil's government and its possible effect on a phenomenal new film from director Kleber Mendonça Filho.
A defense of "The Hateful Eight" and a reading of the film as a commentary on the formation of the country.
A eulogy for a young boy killed by police in Rio de Janeiro.
Pablo Villaça chooses his favorite piece of Roger's writing.
An FFC offers a personal take on Petra Costa's "Elena," including a video with producer Fernando Mereilles.
A remembrance of documentary filmmaker Eduardo Coutinho.
Pablo Villaça offers his perspective on "The Great Beauty."
Pablo Villaça offers another perspective on "Prisoners."
So says professional killer Jackie Cogan at one point in Killing Them Softly, the third film by New Zealander Andrew Dominik - and considering the filmmaker's efforts to establish a connection between the events in the movie and the economic crisis started in the late 2000s thanks to the greed and lack of scruples of Wall Street, it is easy to see Cogan as an ordinary employee of any company complaining about the lack of vision of his bosses and, on the other hand, the big bankers as Armani-dressing versions of the violent mobsters who inhabit the crime section of the newspapers. More than that: fearful due to the financial disaster caused by their colleagues in Wall Street, the bad guys presented by Dominik are miles away from those gangsters who used to throw hundred dollar bills on the ground or distribute tips in exchange of a smile; instead, here they need to haggle prices with professional killers and negotiate with theirs superiors before approving a sum of a thousand dollars for framing someone.