It began to attract attention in 2002 when it was signed by director Paul Greengrass Bloody SundayIn a language that would like to follow the line of the documentary on the massacre of civilians by British soldiers in Ireland on January 30, 1972. The driving pattern, which marked the constant movement of the camera, was at the center of the reconstructed events, as established by a cameraman, and the resource that stood out most in that work. Next, the filmmaker produced three films dedicated to the character of Jason Bourne. Woo United 93He remade one of the episodes on September 11, 2001. He is in such movies Captain Phillips, In 2013, another remake of an original fact and the first meeting with actor Tom Hanks, now shining in it again World Reports (World News), Produced by Universal and released in a few North American cinemas, later became another victim of the pandemic, transferring the exhibition rights to Netflix, in order to be known to a wider audience, even under inappropriate circumstances. But if the plasticity and aesthetics of your pictures are compromised, the benefits of this achievement can be seen on any canvas.

This is a beautiful film, one more to show that some sections do not die, and only need talented narrators who know how to update them, at least not because, in the case of the Western section, there are many examples to act as guides. Those who want to keep the classics active, their ignorance will always be a factor of poverty, and will create spaces for the middle and opportunists.

World Reports The screenplay is based on the book by Paulet Gilles, co-written by director Luke Davis. This is a variation on the resolution of the greatest Westerners, Hate the paths, John Ford. In a short time, but unnoticed, Greengrass pays a beautiful tribute to that masterpiece and its director. In the scene where the girl starring Helena Single sets the house on fire, the filmmaker puts the camera inside and shapes the character with the straight lines of the door. This feature was widely used by Ford in that masterpiece as a symbol of the solidity and power of the human family, as opposed to the curved lines, to reveal the emotional imbalance of the homeless character, seen through a camera placed in the center of a cave by John Wayne, for example during narration only. In the anthological final shot of that film, the protagonist walks away from home, and the image of the opening, the return of the unhappy and angry Ulysses, resumes in the opposite direction. In the film Greengrass, there are other references to that classic, which includes the presence of a character with ingenuity and emotional flaws, while the epilogue is another, just as exciting, but not too far from Ford, as he once again records the triumph of humanity.

Images and Circumstances This film, which clearly expresses the intentions of the filmmaker, is also a beautiful elevation of the word as a civic element. Hanks’ character is not a poet or a pedestrian, but he is similar in conveying to the people the descriptions contained in the newspapers. “Poetry escaped from the books, it’s in the newspapers now”, found Drummond in a different context, but one that matched the Greengrass film, one that reinforced the epilogue, when the protagonist ‘s actions seemed to merge with the theater. Filled with remarkable moments, this film is one to stand out in an era of artwork and triviality. The sandstorm, which gradually dissolves to steer the characters back into motion and light, is one of those moments. The film in that scene even synchronizes his suggestion to mark the meeting of two civilizations. It may be a dream, but the scene reveals the release of a German young woman from the ropes that binds her in prison. In a way, the resumption of the confrontation between uncle and son-in-law in the classic served as a model for this beautiful and sometimes moving film.