Já recomendei em outro tópico, mas não custa nada fazer propaganda de novo:
Ônibus 174 é um dos melhores filmes brasileiros de todos os tempos, e um dos melhores do mundo dos últimos tempos.
É interessante como é imparcial ao extremo: não se limita a mostrar um só lado da história, como é comum em documentários, mas mostra o lado dos policiais, do povo, da mídia, dos bandidos, etc., sem cair em lições de moral ou críticas exarcebadas (o que já tira o rótulo de "pregação comunista" do outro tópico). Na minha opinião, só falha ao parecer parcial quando fala da ação da polícia no incidente, mas não chega a ser algo imperdoável.
Eis uma crítica de um crítico de verdade (não é um desses críticos de revista):
Bus 174 (José Padilha, Brazil): 79
Had a tough time settling on a numeral for this one, and still occasionally wonder whether I may have over- or underrated it. The film qua film is really more of a solid "B" effort, thorough and considered with occasional flashes of inspiration (e.g., the opening and [almost] closing helicopter shots; a jailhouse interview shot as a negative image, ostensibly to protect the identities of the subjects but also to emphasize the inhumanity of their condition). I find it hard to imagine a Brazilian audience being wowed by it, because they'd presumably know the story already and have seen the news footage many times before. For those who
haven't seen the news footage before, however, this is probably the year's most relentlessly gripping movie, simply because the Rio cops somehow failed to establish a perimeter and allowed TV journalists to stand right beside the bus for the entire five-hour standoff, thus turning it into a real-life version of
Dog Day Afternoon, only never funny. A lot of
Bus 174's appeal is frankly voyeuristic -- we're just not used to seeing this stuff up-close. At the same time, Padilha is dogged (some say
too dogged) in researching and laying out the personal, historical and sociological background, and does a fine job both of indicting a failed system for the crime and of investigating the uncomfortable degree to which the presence of cameras influenced events (to the point where the hostages were in effect engaged in street theater). Bottom line: There was never a moment when I wasn't completely engaged, and that's exceedingly rare. -- Mike D'Angelo
http://www.panix.com/~dangelo/ndnf03.html#bus1.htmlOutra crítica:
http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/20031024/REVIEWS/310240302/1023
