Suburra

Esperava (em vão) uma experiência tão forte de Black Mass - Jogo Sujo e Lendas do Crime no ano passado. Os italianos pois jogam a carta da máfia em diferentes níveis do que os britânicos e os americanos. Um acontecimento maligno menor, que conduz a um apocalipse que envolve e destrói toda a gente. O sentimento de impotência, de ser incapaz de evitar ser apanhado na teia do crime, aqui aumenta para uma furiosa loucura. Suburra é um filme de género, não teria sido celebrado em Cannes como Gomorra de Garrone mais artístico no outro dia, mas é um excelente filme de género cativante que trabalha perfeitamente com os personagens. Personagens bem representados. Caminhos de enredo familiares em lugares, mas nunca caindo explicitamente em clichés. O uso da banda sonora dos maiores êxitos do M83 é bizarro, e talvez ainda mais impressionante por isso. Foram eles que decidiram sobre a minha quinta estrela. (07/03/2016)

Every now and then, I watch something that leaves me speechless. I’m so bewitched – in a good way – that I’m completely smitten. I had this exact feeling after watching the contemporary gangster movie Suburra. The harsh fates of individual characters of different standings are connected by a monstrous construction of a future complex with a casino on the edge of Rome in such a precise way that I was dumbstruck. The directors have skillfully incorporated interesting characters into the vicious cycle of the mafia history and by doing so, they closed an important chapter of the contemporary Italian underground. Some of the scenes were more brutal, some of them less. But all of them were predominated by this disgusting loss of humanity that was always supported by a strange unearthly music of the French band M38 and it amplified the entire story, which felt as if it was happening on a different planet altogether. (08/08/2016)

A film blurring the boundaries between concepts such as power, corruption, the church, good intentions, the mafia, usurious gangs, politics, interests, small/large fish, money, etc. Sollima continues in a style he has already successfully used in the Gomorrah series, and so this Gordian knot of destinies from the far side of Rome on the other side of Rome leads confidently and in terms of style towards a complex criminal movie. In this respect it can't deny "gomorrah's roots "(whether book, serial or movie). Like the influence of the duo Tropa de Elite or The Wire. A well-thought-out script (perhaps only the indicated church line was unused and therefore pointless), the actors, the hypnotic camera and the Martinez’s soundtrack, all this is at the highest level. The fact that it is "only" a kind of pilot for the upcoming series. It is a crime series that is one of the best ever created in this genre in recent years. And in this genre department a lot of amazing staff have been done. (01/01/2016)

It’s an audio-visually over-stylized, soft-spoken, yet more than eloquent fresco about the dark side of the eternal city that manages a quantum of characters, unprecedented violence, and metaphorical parables. Some of the threads could still use an extra knot at the end, but it is still an intense and exhausting viewing experience in the best sense. (15/01/2017)

Weird movie. Nice stylization, amazing soundtrack (the best of the year!), wild sex and interesting narrative style, but there were a few things that bothered me. The running time is excessive, there is no main character, only supporting characters, and unless I have someone to root for, a movie can't keep me glued to my seat. Violence and action were also scarce here. A decent gangster flick. Probably not my cup of tea. 60%. (28/12/2015)