Realização:
Spike LeeCâmara:
Chayse IrvinMúsica:
Terence BlanchardElenco:
John David Washington, Adam Driver, Topher Grace, Laura Harrier, Jasper Pääkkönen, Michael Buscemi, Ryan Eggold, Paul Walter Hauser, Corey Hawkins (mais)Streaming (2)
Sinopses(1)
Do cineasta visionário Spike Lee chega a inacreditável história verídica de um herói americano. No início dos anos 70, um período de grande agitação social onde a luta pelos direitos civis vai enfurecendo. Ron Stallworth (John David Washington) torna-se o primeiro detetive afro-americano do Departamento da Polícia de Colorado Springs, mas a sua chegada é vista com ceticismo e abre hostilidades nos vários departamentos. Com audácia, Stallworth decide subir a pulso e fazer a diferença na sua comunidade; e é com grande coragem que entra numa perigosa missão: infiltrar-se e expor o Ku Klux Klan. Fazendo-se passar por um racista extremista, Stallworth contacta por telefone o grupo e acaba por ser convidado a entrar no núcleo do mesmo. Consegue mesmo criar uma relação com o ‘Grande Feiticeiro’, David Duke (Topher Grace), que elogia o compromisso de Stallworth ao progresso da América Branca. Com a investigação à paisana a ficar cada vez mais complexa, um colega de Ron Stallworth, Flip Zimmerman (Adam Driver), faz-se passar por ele nos encontros cara-a-cara com os membros do grupo de ódio, recolhendo informações para um plano mortal. Stallworth e Zimmerman juntam-se assim para tentar deitar abaixo a organização, cujo objetivo real é espalhar junto das massas uma mensagem de violência. (NOS Lusomundo Audiovisuais)
(mais)Vídeos (7)
Críticas (16)
Um filme civil de feel good com toques de blaxploitation, com críticas severas a Trump. Aborda o racismo, o movimento negro e o KKK, o que não vai agradar a todos. Mas é inteligente, com a típica leveza de Spike, e dirigido com precisão, e pode colocar John David Washington em papéis que farão dele uma nova estrela negra com os parâmetros de Denzel Washington. P.S.: Paul Walter Hauser (o «agente secreto» pequeno e gordo de Eu, Tonya) encaixa incrivelmente bem nos papéis de ultra-labregos. [Cannes]
()
Campaigner Spike Lee is this time (traditionally) a hindrance to filmmaker Spike Lee. And so a good film is clearly ruined by not being satisfied with the hints that are not said between the lines and the viewer's intelligence, but has (traditionally) a need to say everything on its mind and what timeless parallels it wants to outline. And so here and there the characters recite, here and there documentary shots from the present, etc. are incorporated here. However, which (this time) is clearly annoying, because in the core of the film it is all that way anyway. In addition, very nice in terms of keeping on top of things view and from filmmaking as well as acting point of view.
()
Spike Lee, as an infinite supporter of black acting culture, has his movies often full of minority views, which go right over my European head. So I had to focus on his filmmaking qualities and there are undoubtedly plenty of them. In this movie he even brilliantly balanced white power and black power into one coherent story, which even though it seems absurd, actually really happened. And as I said, it might still be a reality in USA, but to me as a European it sounds unbelievable. Maybe this is the part of the film’s charm. To be honest, in the first 20 minutes he couldn’t resist to include some in my opinion unnecessary black scenes. But after a while you focus on young Washington and Adam Driver’s excellent performances which are in turn absurd, ironically funny but also thrilling and the movie ends with a good political chapter and a brief attack on Trump. Definitively a good movie and one of the most interesting ones on the topic of oppression of black population in the USA.
()
Previously it would have been a biographical drama or a heist film, but to express his political viewpoint this time, Spike Lee uses and reworks for his own needs the conventions of cop films about dual identity. The obstacles that the heroes have to overcome in accomplishing their mission come not only from the outside, but also in the form of their colleagues and superiors, who are unable to let go of their own prejudices and represent a system that disadvantages a certain part of the population. The pairing of two disparate characters serves for more than just creating comical situations that bring levity to a serious topic. It is also a condition for the implementation of Stallworth’s bold plan and, at the same time, expression of the film’s central conviction that the path to success is conditioned by cooperation, the struggle for shared values (though each one is completely different, they appear before the KKK members as one person), which can also be understood as a disputation with blaxploitation films, whose style BlacKkKlansman imitates. ___ The two protagonists start to think more about their respective identities following confrontations with white nationalists, who see them, as a black and a Jew, as a threat comparable to the plague and cholera. For example, in reply to the question of whether he is a Jew, Zimmerman initially answers “I don't know”. He later admits that, because of assimilation, he had never thought about his Jewishness, but he is now beginning to reconsider his position. Like his partner, he stops taking his infiltration of the Ku Klux Klan as nothing more than a job, as it becomes a personal matter for him. While Stallworth stops running away from the fact that he is black, Flip begins to proudly defend his Jewishness “thanks” to a group of anti-Semitic imbeciles. ___ Racists legitimise their words and actions by creating artificial enemies and spreading fear of a race war or the Jewish-Bolshevik conspiracy. Their vocabulary plays a fundamental role in this, though it does not have any sort of richness and displays an elementary ignorance of grammar, but it is also expressive enough to elicit strong emotions and attract unthinking crowds. Emotions replace the ability to work with facts and to argue more thoughtfully. One of the bigots reveals the absence of elementary logic in his attitudes when Flip warns him that it is nonsensical to deny the Holocaust, during which several million Jews were murdered and was thus the most amazing event in history from a white Nazi’s perspective. Within the KKK, relationships are established exclusively on the basis of shared hatred. Joining the organisation is conditioned by knowledge of the hate code (various terms of abuse for anyone who is not a white heterosexual American). However, it is necessary to make the language of this closed group widely known, for example with the aid of Hollywood epics such as The Birth of a Nation. ___ The wave of racially motivated violence in the 1970s was a backlash to some of the minor victories achieved by African-Americans in the previous decade. Similarly, the strengthening position of the extreme right in America today, stoked by the statements of the sociopath whom Spike Lee calls the “Orange motherfucker” and “Agent Orange”, can be seen as “retaliation” for the eight years of the Barack Obama administration. Lee’s film is permeated by parallels with current events in the United States and Europe. Even without the shocking postscript, it would be clear that, as in his earlier films, Lee used a historical theme to draw attention to the persistent intolerance of certain social groups. Though the style changes, the essence remains and the world will continue to need many heroes like Ron Stallworth and Heather Heyer. BlacKkKlansman says as much, perhaps without much nuance, but urgently enough to open the eyes of at least a few people who do not yet have totally whitewashed brains. 90%
()
(menos)
(mais)
Spike Lee made a decidedly interesting film about the first black cop and his infiltration of the Ku Klux Klan, which is both unprecedented and attractive stuff, but it lacked balls. John David Washington is unexpectedly good and if he becomes a star I won't be angry at all. Adam Driver surprised me as well and Jasper Pääkkönen was a proper sleazeball. The film is a bit too long for my taste and offers no eye candy sequences; it’s emotionally cold, there’s no action empty, and the humour passed me by, but still I wasn't bored and finished it with curiosity without any problems. But I am not the target audience.60%
()
Galeria (54)
Photo © Focus Features
![BlacKkKlansman - O Infiltrado - Do filme](http://image.pmgstatic.com/cache/resized/w663/files/images/film/photos/162/877/162877947_df2192.jpg)
Publicidade