O melhor cinema da UP volta esta semana com "FAUST" (1926), de F. W. Murnau, obra-prima do cinema mudo e da estética expressionista alemã concebida a partir da obra homónima de Goethe.
É às 18h15, na sala 1.01. Apareçam e tragam um, dois, três amigos!
In , where the central theme is distilled into the struggle of good against evil, Murnau creates a perfect visual metaphor in his use of expressionist lighting and ubiquitous mists, in what really was the last gasp for German Expressionism. The performers are side-tracked. The film opens in a dazzling crescendo of crashing light and dark as Mephistopheles confronts the archangel. In the first half of the film, where Mephisto tempts and then totally corrupts Faust, the images are frequently darkened, with stabs of light illuminating faces or figures. Murnau borrows Rembrandt’s highly expressive use of light and shadow to manifest the struggle being waged for Faust’s soul. When Gretchen first appears the shading becomes more neutral, infused with greys. But after she is seduced, the earlier, darker code is reinstated. It is only at the conclusion of the film that the archangel’s light and his love-heart shaped wings restore the natural order; although his rationale for redeeming mankind may be based on an opportunistic logic.
fonte: Senses of Cinema