Fome

O tempo todo se pergunta qual é o objetivo do filme, que apenas com um olho visual austero de Kubrick retrata o tratamento escandaloso dos prisioneiros do IRA numa prisão inglesa. Mesmo na segunda metade, quando o argumento esquece os personagens anteriores e se centra no mártir voluntário de Fassbender, ficamos a ser meros observadores de coisas que fazem o sangue correr frio nas nossas veias. Mas aqui o filme já está noutro nível graças ao mega-talento do ator. O que dá finalmente significado ao filme é o facto de que o sofrimento que o(s) personagem(s) sofreu(am) não foi em vão. Uma poderosa explosão na cabeça do espetador. (27/02/2010)

I understand where McQueen is heading, and I must admire him for not giving in to anti-populist form even for a moment, while avoiding the feeling of self-indulgently slow pace. The border between raw reality and explicit atrocities and violence is sometimes quite thin, and Hunger has crossed it multiple times for my taste. Of course, Fassbender can weigh twenty kilos even with a bed and still captivate with any glance. But more often than not, I sneered disgustedly instead of experiencing it. (15/08/2012)

Hunger is a film that feels absolutely convincing, evokes exactly the emotions it wants to evoke, and is economical in its expression. It is told through imagery and the only crucial dialogue between the hunger striker and the prison chaplain is a delight in how many layers, connotations, probing, and information it contains. This drama can provide a complete picture of the problem in a reasonable duration of 95 minutes and literally engulf the viewer. The theme of torment, and frustration of prisoners and guards who are limited by political guidelines from people who have no real idea about the actual situation and no intention of dealing with it far away in parliament. It is a battle of willpower, ideology, ideas, sacrifice, intimidation, and strength. A controversial film that is not for everyone. Overall impression: 95%. (19/05/2011)

A heavy, existentially tuned and extremely personal drama that attacks the limits of the viewer's emotionality in a completely indiscriminate, mentally and physically exhausting way. Unfortunately, this applies only to the second half, when watching Fassbender suffer voluntarily makes us more nauseous than Jackson's Braindead – if the whole film was like this, it would immediately reach top positions in the popularity charts here and perhaps even the percentage rating. Unfortunately, the opening part is boring and confusing rather than shocking and, despite all efforts at authorial innovation, quite uninteresting, too, so my rating is just a logical outcome of two completely different halves. But nothing against McQueen, his patient and strongly poetic approach would prove very useful and even massively successful in subsequent films. And here (in the first half) is the germ of everything. 70% (13/04/2014)

A painfully physical experience. Persistent, intense, gradual and scorching. McQueen risks serious accusations of political controversy, but this film is not about defending ideology, but rather about the often Baroque-rigid and visually brilliant image of humiliation, determination, and suffering. In terms of structure, the film resembles a three-winged altar full of blood, renunciation and feces - an altar that does not accuse, react or evaluate... only radiates a disheartening chiaroscuro. Steve McQueen is undoubtedly a huge talent with his artistry, economical language and sober sharing ability. (04/01/2010)