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Após ter sua estreia mundial no Festival de Cannes com exibição na semana dos diretores, a sequência de The Souvenir foi tão elogiada quanto sua primeira parte.

Além de ter a honra de trabalhar com a diretora Joanna Hogg de quem é admirador do trabalho, Joe conseguiu se destacar (mesmo tendo pouco tempo de tela) e receber seus primeiros elogios vindos da crítica especializada. Abaixo separamos alguns trechos do que foi dito sobre o filme e sua atuação:

IndieWire: “ The Souvenir Part II ”, um trabalho extraordinário de meta-ficção que continua de onde o filme anterior parou e subverte a meticulosidade de sua construção para iluminar por que Hogg sentiu a necessidade de fazê-lo em primeiro lugar. Tão vulnerável quanto seu antecessor e texturizado com o mesmo sentido aveludado de devir, “Parte II” adiciona novas camadas de profundidade e distância ao espelho da autorreflexão de Hogg. 

 Joe Alwyn aparece para uma esplêndida rapidinha de duas cenas como um estudante editor de bom coração.

Essas pessoas vêm e vão sem muito alarde, já que “The Souvenir Part II” é – como seu antecessor, se um pouco menos – um filme quebrado em fragmentos de memória

Sreen Daily: The Souvenir: Part II é um filme para saborear, visual e sensorialmente. 

Os atores aqui se encaixam facilmente neste mundo, de Joe Alwyn como o editor gay de Julie aos professores universitários que lamentam sua falta de profissionalismo (um roteiro amarrado com fita vermelha) e a decisão de não fazer um filme sobre uma família pobre em Sunderland para optar por algo mais efêmero. Os espectadores devem ficar contentes com o que ela fez.

The Hollywood Reporter: É um relato extraordinariamente revelador de uma mulher descobrindo não apenas quem ela quer ser, mas armazenando experiências, boas e más, enquanto gradualmente desenvolve a linguagem e a maturidade para transformá-las em arte. Hogg costuma trabalhar a partir de um tratamento básico com pouco diálogo, moldando cada cena com seus colaboradores à medida que a filmagem avança.

Julie (Honor Swinton Byrne) salta entre três novos homens enquanto ela luta para descobrir se ela realmente sente falta de Anthony ou apenas da intimidade do companheirismo. Ela tem um caso de uma noite com a estrela do musical de Patrick (Charlie Heaton), ela se esforça para comunicar o que deseja do protagonista masculino de seu próprio filme (Harris Dickinson) e ela interpreta mal os sinais de seu simpático editor gay (Joe Alwyn) em um momento carinhosamente embaraçoso, lindamente interpretado por ambos os atores.

Variety: Tudo está bem e nada está certo no filme de Joanna Hogg , uma sequência deslumbrante e frágil de seu atordoante semiautobiográfico de maioridade. Embora totalmente distinto em suas fixações temáticas e estéticas, “The Souvenir Part II” confina com seu antecessor para formar um dos retratos mais íntimos e expressivos do artista quando jovem.

Filmar a vida conforme Julie experimenta, no entanto, é mais fácil de dizer do que fazer. O elenco e a equipe de seu projeto de graduação têm dificuldade em perceber sua realidade, para começar, e as disputas no set que se seguiram respondem por grande parte da comédia esporádica e surpreendentemente abundante do filme. Um editor gentil (Joe Alwyn, em um cameo irônico e terno) faz uma abordagem mais diplomática ao processo idiossincrático de Julie, enquanto Hogg deixa para o espectador intuir se seu jovem alter ego está acima de sua cabeça ou não.

 

No twitter Joe foi citado pelo editor executivo da Variety Ramin Setoodeh: “Mesmo que ele esteja apenas em algumas cenas, Joe Alwyn é ótimo em ‘The Souvenir Parte 2’.”

The Favourite was shown yesterday at the Venice Film Festival and received acclaim from critics. Even though the film has three talented actresses, Joe’s work did not go unnoticed and according to one of the critics, a scene in which he dances with Rachel Weisz was one of the best. Check out a summary of what was said about the film:

The Playlist

On three separate occasions during the first press screening of Yorgos Lanthimos‘ “The Favourite” in Venice, the audience spontaneously applauded. These instances were: 1) during a brilliantly anachronistic dance scene in which, to the unfunky strains of period-appropriate harpsichord music, Masham (Joe Alwyn) swings a solemn-faced Lady Marlborough (Rachel Weisz) horizontally around his waist before dipping into a full-on breakdance move down an aisle of cheering courtiers…

From the first explosively satisfying use of the word “cunt” to the final three-way comeuppance, “The Favourite” is a bawdy, bacchanalian beauty that manages to be both filthy-minded and a little heartbreaking, while among its embarrassing riches it boasts not one but three of what will undoubtedly be the best female performances of the year.

This is a story unapologetically about women, and their relationships to power and to one another (though props to Alwyn, Nicholas Hoult, and Mark Gatiss for so gamely sidelining themselves).

Screen Internacional

Don’t be wrong-footed by the delicious scene in which a courtly dance turns into a Baroque parody of various modern dance moves. Yorgos Lanthimos’ entertaining, mischievous, shrewd and archly feminist portrait of intrigue at the court of Queen Anne is not, deep down, a historical makeover exercise in the style of Sofia Coppola’s Marie Antoinette.

It’s more subtle than that: this sparklingly adroit historical romp’s sense of humour derives as much from the Restoration Comedies of its period setting, or the works of contemporary verse and prose satirists like Pope or Swift, as it does from retrofitted references. And the traffic between present and past embedded in that dance scene, or in a facial scar that looks just like the Nike logo, is hardly one way. The Favourite’s world of scheming courtiers who pretend to represent ‘the country’ (whatever that is) while really only serving themselves is clearly intended to resonate with audiences in the age of Brexit and Donald Trump.

Hollywood Reporter

The Favourite, is a juicy power tangle connecting three women in the royal court of early 18th century England, played by a divine trio that bounces off one another with obvious relish.

These two are worthy adversaries, and Stone and Weisz play them to the hilt. Stone at first maintains flickers of innocence and vulnerability beneath her character’s calculation. But Abigail’s ruthlessness becomes apparent as she realizes that Sarah will stand in the way of her regaining her footing as a lady. Hoult’s tricky Harley, outrageously powdered, rouged and primped in the dandyish fashion of the time, and the far more malleable Masham (Joe Alwyn), who’s intoxicated with Abigail at first sight, prove useful accomplices in her plan. A brawling seduction scene in the woods in which Abigail shows Masham that she’s no pushover is a hoot, as is her perfunctory servicing of him when the occasion requires it.

The elegantly structured film is broken up into eight chapters with titles like This Mud Stinks, I Do Fear Confusion and Accidents, What an Outfit and I Dreamt I Stabbed You in the Eye. It ends on a note of sorrowful ambiguity, accompanied by the melancholy strains of a Schubert sonata, in which the two points of the triangle still in place are left in sobering contemplation of their situation.

CineVue

For all that life is vicious, brutish and short in Anne’s England – which, incidentally, became Great Britain for the first time during her reign – Lanthimos – thanks in large part to a marvellous script and three stellar performances – has made his most touching, heartfelt film to date. The Favourite has ribaldry and intelligence to burn, a deliciously entertaining period piece that feels liberated by its period, rather than restrained and invigorates like a glass of wine thrown violently in your face.

IndieWire

“The Favourite” isn’t a zero-sum game. Its palace intrigue is at once seductive and repellant, and there’s a kind of catharsis in seeing it reach its natural conclusion.

The Film Stage

Who of the two may be ill and invalid Queen Anne’s favorite is the question ricocheting around the film’s exhilarating autopsy of an incestuous elite, at once so utterly detached from the kingdom’s troubles and viciously in tune with their animalistic drives. Over eight chapters, Lanthimos captures all out-bonkers displays of royal excesses, from ducks racing around the palace to grand ballroom parties, one of them featuring a breakdance-like routine between Weisz and Abigail’s suitor, Masham (Joe Alwyn), that ranks high among the film’s most memorable scenes.

The Wrap

“The Favourite” is certainly an acting showcase, Lanthimos brings the skewed vision that makes his films simultaneously enthralling and off-putting. The score (which is uncredited, for whatever reason) veers between grandiosity and minimalism but it either draws us in or keeps us at a distance as need be. Cinematographer Robbie Ryan (“The Meyerowitz Stories”) boldly but efficaciously uses swish pans, fish-eye lenses and long tracking shots to accentuate the ridiculously large rooms and corridors enjoyed by the aristocracy. The way Ryan shoots scenes like Weisz and Joe Allwyn’s absurdist gavotte on a checkerboard floor calls to mind the great Sacha Vierny’s work on Peter Greenaway’s films, particularly “The Baby of Mâcon.”

Variety

“The Favourite.” It’s a perfectly cut diamond of a movie — a finely executed, coldly entertaining entry in the genre of savage misanthropic baroque costume drama.

“The Favourite” is a sick-joke morality play in which the message is: Every woman has her reasons.

This clawingly competitive political-erotic triangle is at the center of the movie, with a few key men as supporting scoundrels. Nicholas Hoult, as insinuating as he is tall, makes his presence felt as Harley, the caustic fop who represents the land owners (he’s fighting to cut the taxes that are paying for the war, and is therefore Lady Sarah’s enemy), and Joe Alwyn is Masham, the empty-headed court hunk who Abigail ardently woos — but the second she marries him, we see, on a bitterly hilarious wedding night, what he means to her.

Notice: More reviews will be added before the film’s presentation at Telluride.

The reviews are in Operation Finale, and although the film overall has received mixed reviews , Joe’s performance as Klaus Eichmann has been praised by critics for it’s authenticity and believability. David Ehrlich from Indiewire said that Joe, “is frighteningly believable in the role.” Charles Bramesco from The Guardian said Joe is, “unsettlingly well-cast.” Liel Leibovitz from Tablet Magazine called Joe’s performance a, “referendum on compassion” and that, “the monster’s child, he reminds us, had done no wrong, and the pain he feels at the disappearance of his father is real and ought to rankle. This uneasy realization colors each pulse-quickening near miss a few shades darker, and raises far sharper questions about the intersection of justice and revenge than that other recent tale of Mossad agents out on the hunt…”

Overall, critics have praised the performances of the cast, especially by Sir Ben Kinglsey as Adolf Eichmann and Oscar Isaac and Peter Malkin. Although many critics found the way the film challenges the audiences understanding of humanity and morality to be a strength of the film, others felt the film over dramatized aspects of the story.

Many critics have also commented on Operation Finale’s entertainment value, particularly the sequence involving the capture and extraction of Adolf Eichmann from Argentina. Chris Nashawaty from Entertainment Weekly said, “it unspools in predictably unpredictable spy-movie fashion. Everything that can go wrong does; each escape is narrower and hairier than the one that preceded it. But it’s the psychological duel between the terrific Isaac and Kingsley as captor and prisoner that delivers the film’s most charged jolts of electricity.

We’ve put together a list of several full reviews on the film, check out:

Operation Finale opens in US theatres today.




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The Last Letter From Your Lover Virtual Premiere

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Hello ☺️ I love your blog 🥰 Have a lovely day 💛

Hi, thank you so much!! Hope you have a lovely day too!

Joe Alwyns Instagram Stories July 22 2021

Joe Alwyn’s Instagram Stories, July 22 2021

Hii, do we know when LLFYL will be on Netflix tomorrow? Like in the morning or evening? Or midnight?

Hi! most things on Netflix release at midnight pacific time, so 15 hours from now

very random but has joe ever talked about what his favourite alcoholic drink is?

not really, he likes beer/Stella Artois but idk if it’s his favourite

Do you have any guesses about the movie's reviews? Will it rot in the Rotten Tomatoes or not? lol

i think the reviews will be decent. it has a few positive reviews so far, one from the New York Times

https://www.rottentomatoes.com/m/the_last_letter_from_your_lover

How was his screen time?

not very much but the right amount for the way the story is told in the film if that makes sense

they had to cut out A LOT of stuff, which sucks but is understandable because the jennifer/laurence/anthony part could have been its own 3 hour movie

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