COSMOPOLIS convence nas bilheteiras norte-americanas e arrecada elogios da crítica

COSMOPOLIS estreou-se nos E.U.A. com bons resultados de bilheteira. O novo filme de DAVID CRONENBERG, protagonizado por ROBERT PATTINSON, está em exibição desde sexta-feira passada em três ecrãs norte-americanos (em Nova Iorque e Los Angeles) e fez a melhor média de espectadores por ecrã no último fim-de-semana.

Já esta semana a distribuidora norte-americana vai alargar a exibição de COSMOPOLIS a mais ecrãs e cidades do país.

A cobertura da estreia da adaptação para cinema do livro de DON DELILLO teve direito ainda a “uma cobertura mediática digna de um blockbuster”, como referiu o Indiewire. ROBERT PATTINSON foi convidado de dois dos mais populares talk-shows norte-americanos, GOOD MORNING AMERICA, da cadeia ABC, e ainda do THE DAILY SHOW, apresentado por Jon Stewart.

O prestigiado THE NEW YORK TIMES dedicou várias páginas ao aguardado filme do realizador canadiano, incluindo uma análise da influente crítica de cinema Manohla Dargis:

“Mr. Cronenberg’s direction throughout “Cosmopolis” is impeccable, both inside the limo and out. The difficulties of shooting in such a tight space (…)are conspicuous but rendered invisible by his masterly filmmaking. Mr. Cronenberg keeps you rapt. (…) Mr. Pattinson makes a fine member of the Cronenbergian walking dead, with a glacial, blank beauty (…) and he may be capable of greater nuance and depth than is usually asked of him. (…)With his transfixing mask and dead stare, he looks the part he plays here and delivers a physical performance that holds up to a battery of abuses”.

A boa recepção da crítica a COSMOPOLIS estende-se também a outras publicações de prestígio dos E.U.A: 

THE NEW YORKER
“Cronenberg has made an eccentric and beautiful-looking movie—a languid, deadpan, conceptualist joke. (…) Cronenberg has retained much of DeLillo’s dialogue, which is, by turns, clipped and expansive and idea-studded—a kind of postmodernist exposition of how money functions in cyberspace. And he has come up with an equivalent to DeLillo’s curt and cool equipoise—a style of filmmaking that is classically measured and calm, without an extra shot or cut. The interior of the car is designed in shades of black and dark gray, with chrome trim and blue, glowing screens. Despite the constrictions, Cronenberg keeps the space handsome and active. For long stretches, “Cosmopolis” is dreamy and funny, in an off-centered way.”

LOS ANGELES TIMES
“Cronenberg is not only Kubrick’s heir as the most experimental narrative filmmaker at work today but the most provocative and consistently original North American director of his generation.”

TIME OUT NEW YORK
“Director David Cronenberg—who knows a thing or two about bodily expressions—understands, finally, what to do with the Twilight star, turning his zombified handsomeness into a stark canvas upon which we can project our own anxieties. (…) [Cronenberg] flatters the material into a sensual, propulsive thriller, the apocalypse as viewed from lush interiors and a hermetic remove. It’s more than spooky.”

THE WRAP
“I never imagined describing a film as a cross between “The Bonfire of the Vanities” and “Last Year at Marienbad,” but then I never quite predicted a movie like “Cosmopolis. (…)It’s the kind of film that starts arguments, so see it if for no other reason than to know on which side you’ll be standing.”