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Arthur Goyaz

Business graduate (ew), now studying Film in Brazil, the land of delayed releases. Huge fan of body horror and underground masterpieces, but I also have time for classics. I often wonder if I’ll someday have a different answer for the “what’s the best movie you’ve ever seen?” question because it’s been Paris, Texas since 2014. Three quick facts: I have my earphones on 24/7, I can only watch movies if they have subtitles on and I never really finish anyth

7 Articles Published | Follow:
Padre Pio (Rio Review): Ferrara’s Anti-Fascist Prayer

Abel Ferrara’s Padre Pio compensates for its underwhelming character study with politically charged storylines.

The Menu (Film Review): Clever Satire with Insipid Horror Elements

The Menu is an entertaining horror satire with a marvelous ensemble cast but fails to deliver a slightly interesting punch line.

Three Thousand Years of Longing: Film Review

Three Thousand Years Of Longing offers a visually appealing mosaic of fantasy tales and quickly gets comfortable in its absurdity.

Good Madam (Review): Past and Present Consuming Body and Soul

Good Madam ’s disorienting narrative works way better when it’s grounded in reality, keeping weird horror elements in the background.

Clara Sola (Review): The Evergreen Touch of Nature & Desire

Clara Sola knows how to blend its grounded mysticism into a story filled with magical realism, but the movie often goes off the rails when it dismisses its heart-rending sensorial appeal.

Twin Peaks: The Return and What It Means To Be A TV Show Nowadays

In times where TV status is losing its meaning, Twin Peaks: The Return still represents a challenging rupture in conventional storytelling.

Dark Glasses (Review): A Giallo Haunted By Its Own Narrative Choices

There’s a stylish film lost somewhere within Dark Glasses, the return of Dario Argento to directing after 10 years, but the inconsistent narrative choices often get in the way.