{"id":1615,"date":"2000-07-03T22:36:10","date_gmt":"2000-07-03T22:36:10","guid":{"rendered":"http:\/\/josenascimento.com\/media\/?p=1615"},"modified":"2016-10-26T19:26:15","modified_gmt":"2016-10-26T19:26:15","slug":"trop-tard-tarde-demais","status":"publish","type":"post","link":"https:\/\/josenascimento.com\/tardedemais\/2000\/07\/03\/trop-tard-tarde-demais\/","title":{"rendered":"TROP TARD (TARDE DEMAIS)"},"content":{"rendered":"<div class=\"td-post-header td-container\">\n<div class=\"td-post-featured-image td-image-gradient\">\n<header class=\"td-pb-padding-side\"><a href=\"http:\/\/josenascimento.com\/tardedemais\/2000\/07\/03\/trop-tard-tarde-demais\/screen-shot-2016-10-26-at-12-30-35-am-1\/\" rel=\"attachment wp-att-1725\"><img loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-1725\" src=\"http:\/\/josenascimento.com\/tardedemais\/wp-content\/uploads\/sites\/3\/2000\/07\/Screen-Shot-2016-10-26-at-12.30.35-AM-1.png\" alt=\"screen-shot-2016-10-26-at-12-30-35-am-1\" width=\"435\" height=\"195\" srcset=\"https:\/\/josenascimento.com\/tardedemais\/wp-content\/uploads\/sites\/3\/2000\/07\/Screen-Shot-2016-10-26-at-12.30.35-AM-1.png 435w, https:\/\/josenascimento.com\/tardedemais\/wp-content\/uploads\/sites\/3\/2000\/07\/Screen-Shot-2016-10-26-at-12.30.35-AM-1-300x134.png 300w\" sizes=\"auto, (max-width: 435px) 100vw, 435px\" \/><\/a><\/p>\n<ul class=\"td-category\">\n<li class=\"entry-category\"><a href=\"http:\/\/josenascimento.com\/media\/trop-tard-tarde-demais\/screen-shot-2016-10-26-at-12-30-05-am\/\" rel=\"attachment wp-att-1787\"><img loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-1787\" src=\"http:\/\/josenascimento.com\/media\/wp-content\/uploads\/sites\/19\/2000\/07\/Screen-Shot-2016-10-26-at-12.30.05-AM.png\" alt=\"screen-shot-2016-10-26-at-12-30-05-am\" width=\"161\" height=\"143\" \/><\/a>Par<\/li>\n<\/ul>\n<div class=\"meta-info\">\n<div class=\"td-post-author-name\">\n<p>\u00a0<a href=\"http:\/\/www.chronicart.com\/author\/fbeauvais\/\">Frank Beauvais<\/a><\/p>\n<div class=\"td-author-line\">\u00a0&#8211;<\/div>\n<\/div>\n<p><span class=\"td-post-date\">3 JUILLET 2000<\/span><\/p>\n<\/div>\n<\/header>\n<\/div>\n<\/div>\n<div class=\"td-container\">\n<div class=\"td-container-border\">\n<div class=\"td-pb-row\">\n<div class=\"td-pb-span8 td-main-content\">\n<div class=\"td-ss-main-content\">\n<div class=\"clearfix\">Apr\u00e8s le raz de mar\u00e9e\u00a0<i>Titanic<\/i>\u00a0et avant la probable houle suscit\u00e9e par\u00a0<i>En pleine temp\u00eate<\/i>\u00a0(\u00e0 l\u2019affiche le 9 ao\u00fbt 2000),<b><i>Trop tard<\/i><\/b>\u00a0se positionne comme l\u2019outsider plus qu\u2019acceptable d\u2019un sous-genre en pleine expansion : le film de naufrage. Cette production Paulo Branco n\u2019a -on s\u2019en serait dout\u00e9- que peu de choses \u00e0 voir avec les blockbusters dont il partage, \u00e0 premi\u00e8re vue, la th\u00e9matique. Il est, \u00e0 ce titre, saisissant de constater \u00e0 quel point Jose Nascimento, le r\u00e9alisateur, s\u2019est d\u00e9tourn\u00e9 de tout effet de spectacle, des \u00e9cueils de la grandiloquence et du tapage. Tout d\u2019abord, son naufrage est microscopique : quatre p\u00eacheurs se retrouvent pi\u00e9g\u00e9s dans les eaux du Tage, \u00e0 mar\u00e9e basse. Aucune emphase dans ces pr\u00e9mices. Au contraire, le metteur en sc\u00e8ne joue subtilement de la qui\u00e9tude de l\u2019\u00e9l\u00e9ment aquatique. Les naufrag\u00e9s peuvent se d\u00e9placer, voient les c\u00f4tes lisbo\u00e8tes au loin mais sont prisonniers du plus familier des ennemis, le fleuve qui les fait vivre et dont ils tirent leur identit\u00e9, menace stagnante et fig\u00e9e.<\/div>\n<div class=\"td-post-content td-pb-padding-side\">\n<p>Nul besoin d\u2019une arm\u00e9e de figurants pour d\u00e9peindre le d\u00e9sespoir, Jos\u00e9 Nascimento s\u2019attache d\u00e8s le d\u00e9part \u00e0 des probl\u00e8mes humains et relationnels en filmant au plus pr\u00e8s la d\u00e9tresse. Celle qui s\u2019ext\u00e9riorise sur les visages, dans la violence des \u00e9changes verbaux, se lit sur les corps transis de froid, d\u00e9tremp\u00e9s, \u00e0 la lisi\u00e8re du renoncement. Le metteur en sc\u00e8ne fait le choix du d\u00e9pouillement contre le lyrisme, l\u2019esprit de fresque et l\u2019\u00e9motion facile. Les personnages rugueux de\u00a0<b><i>Trop tard<\/i><\/b>\u00a0ne sont gu\u00e8re aimables ; leur \u00e2pret\u00e9, leur l\u00e2chet\u00e9, leur effroi expriment d\u2019autant mieux la peur de la mort, l\u2019humanit\u00e9 de cette peur dans ce qu\u2019elle contient de trivial aussi bien que de m\u00e9taphysique.<\/p>\n<p>Si pass\u00e9e son audacieuse premi\u00e8re demi-heure, paradoxal huis clos en espace ouvert, le film se dirige vers une issue attendue et perd de sa rigueur lorsqu\u2019il met pied \u00e0 terre, sa force initiale ne s\u2019estompe pas totalement et se r\u00e9percute sur d\u2019autres sc\u00e8nes, plus espac\u00e9es. Ces moments -telle la d\u00e9couverte d\u2019un cadavre fig\u00e9 sur un \u00eelot- laissent supposer l\u2019\u00e9mergence d\u2019un v\u00e9ritable cin\u00e9aste avec lequel il semblerait d\u00e9sormais falloir compter.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"<p>Par \u00a0Frank Beauvais \u00a0&#8211; 3 JUILLET 2000 Apr\u00e8s le raz de mar\u00e9e\u00a0Titanic\u00a0et avant la probable houle suscit\u00e9e par\u00a0En pleine temp\u00eate\u00a0(\u00e0 l\u2019affiche le 9 ao\u00fbt 2000),Trop tard\u00a0se positionne comme l\u2019outsider plus [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[9,5,6,4],"tags":[7],"class_list":["post-1615","post","type-post","status-publish","format-standard","hentry","category-criticas","category-imprensa","category-longas","category-tardedemais","tag-tarde-demais"],"_links":{"self":[{"href":"https:\/\/josenascimento.com\/tardedemais\/wp-json\/wp\/v2\/posts\/1615","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/josenascimento.com\/tardedemais\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/josenascimento.com\/tardedemais\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/josenascimento.com\/tardedemais\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/josenascimento.com\/tardedemais\/wp-json\/wp\/v2\/comments?post=1615"}],"version-history":[{"count":2,"href":"https:\/\/josenascimento.com\/tardedemais\/wp-json\/wp\/v2\/posts\/1615\/revisions"}],"predecessor-version":[{"id":1727,"href":"https:\/\/josenascimento.com\/tardedemais\/wp-json\/wp\/v2\/posts\/1615\/revisions\/1727"}],"wp:attachment":[{"href":"https:\/\/josenascimento.com\/tardedemais\/wp-json\/wp\/v2\/media?parent=1615"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/josenascimento.com\/tardedemais\/wp-json\/wp\/v2\/categories?post=1615"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/josenascimento.com\/tardedemais\/wp-json\/wp\/v2\/tags?post=1615"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}