Filtrer
joe thomas
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2018, São Paulo. Trois adolescents surexcités par les discours du président en devenir agressent un homosexuel et lui gravent sur le torse le V de la victoire et une croix gammée.
2003. Deux inspecteurs enquêtent sur la mort du directeur de la British School. Mais leur hiérarchie s'empresse de maquiller les faits et déniche dans les favelas un coupable idéal. C'est le début d'une incroyable et hypnotique fresque qui raconte un Brésil dévoré par la corruption. -
Mars 2016, São Paulo. Alors que la campagne pour la destitution de la présidente Dilma Rousseff bat son plein, l'Avenida Paulista est prise d'assaut par ses sympathisants, opposés aux forces de l'ordre.
Sur la Praça Alexandre de Gusmão gît le corps ensanglanté d'un jeune homme de bonne famille. L'inspecteur Mario Leme, rencardé par un indic, est le premier sur les lieux. Sans attendre, la police militaire l'embarque, bien décidée à lui faire porter le chapeau. Leme n'a pas le choix : s'il veut s'innocenter, il doit identifier la victime et le meurtrier.
Commence alors une enquête qui le mènera des plus hautes sphères de la société brésili -
''Brilliant'' The Times
Mario Leme is a low-ranking detective in the Sao Paulo civil police. Every day on the way to work he sets off early and drives through the favela known as Paraisopolis - Paradise City. It''s a pilgrimage: his wife Renata was gunned down at an intersection here a year ago, the victim of a stray bullet in a conflict between drug dealers.
One morning, parked near the place where Renata died, he sees an SUV careen out of control and flip over. The driver Leo is killed, but before his body is removed, Leme is sure he sees bullet wounds.
Leo''s death wasn''t an accident, he was murdered. Soon, his girlfriend turns up dead too. And if they were killed deliberately, perhaps Renata was too . . .
Leme finds himself immersed further and further in the dark underbelly of Brazilian society, as corruption seeps from the highest to the lowest echelons, and the devastating truth about Renata begins to
PRAISE FOR JOE THOMAS
''Brilliant'' The Times
''Feverish energy'' Guardian
''Wonderfully vivid'' Mail on Sunday
''Sophisticated, dizzying'' GQ
''Vivid and visceral'' The Times
''Superbly realised vivid and atmospheric'' Guardian
''Original'' Mail on Sunday
''A stylish, atmospheric treat an inspired blend of David Peace and early Pinter'' Irish Times
''Sparse, energetic, fragmented prose'' The Spectator
''Vibrant, colourful, and complex'' Irish Independent
''Stylish, sharp-witted, taut. A must for modern noir fans'' NB Magazine
''Definitive confident and energetic'' Crime Time
''Brilliant manic energy'' Jake Arnott
''Wildly stylish and hugely entertaining'' Lucy Caldwell
''Vivid, stylish, funny'' Mick Herron
''Gripping, fast-paced, darkly atmospheric'' Susanna Jones
''Snappy, thoughtful, moving'' John King
''Exciting, fresh, incredibly assured'' Stav Sherez
''Happy days!'' Mark Timlin
''Utterly brilliant'' Cathi Unsworth
''Had James Ellroy and David Peace collaborated on a novel they''d have written something like this'' Paul Willets -
''As vibrant, colourful and complex as South America''s largest city''
Sao Paulo, 2013: a city at an extraordinary moment in its history.
Mario Leme, a detective in the civil police, has developed a friendship with a young English investigative journalist, Ellie. When she goes to meet a contact in central Sao Paulo, Mario observes from the street as she walks into a building and doesn''t come out. Inside, he discovers the dead body of a young man he doesn''t recognise, and Ellie''s phone lying on the floor.
Told partly from Leme''s point of view, partly from Ellie''s, Gringa takes us through five days during the redevelopment of the centre of Sao Paulo in the run-up to the 2014 World Cup. Ellie''s disappearance links characters at every level of the social hierarchy, from the drug dealers and civil and military police to the political class she witnesses the feral brutality of urban breakdown.
Gringa, with shades of Don Winslow and James Ellroy, is a portrait of Sao Paulo
in all its harshness and dysfunction, its corruption and social divisions, its kaleidoscopic dynamism, its undercurrent of derangement, and its febrile, sensual instability, executed with a deep knowledge of the city''s a
PRAISE FOR JOE THOMAS
''Brilliant'' The Times
''Feverish energy'' Guardian
''Wonderfully vivid'' Mail on Sunday
''Sophisticated, dizzying'' GQ
''Vivid and visceral'' The Times
''Superbly realised vivid and atmospheric'' Guardian
''Original'' Mail on Sunday
''A stylish, atmospheric treat an inspired blend of David Peace and early Pinter'' Irish Times
''Sparse, energetic, fragmented prose'' The Spectator
''Vibrant, colourful, and complex'' Irish Independent
''Stylish, sharp-witted, taut. A must for modern noir fans'' NB Magazine
''Definitive confident and energetic'' Crime Time
''Brilliant manic energy'' Jake Arnott
''Wildly stylish and hugely entertaining'' Lucy Caldwell
''Vivid, stylish, funny'' Mick Herron
''Gripping, fast-paced, darkly atmospheric'' Susanna Jones
''Snappy, thoughtful, moving'' John King
''Exciting, fresh, incredibly assured'' Stav Sherez
''Happy days!'' Mark Timlin
''Utterly brilliant'' Cathi Unsworth
''Had James Ellroy and David Peace collaborated on a novel they''d have written something like this'' Paul Willets -
REVUE CINE BAZAR : revue ciné-bazar Tome 2
Collectif
- Lettmotif
- Revue Cine Bazar
- 16 Mars 2016
- 9782367161631
Ciné-Bazar cherche à faire de l'hétéroclite son cheval de bataille. À travers deux premiers numéros déjà sortis chez Sin'Art, la revue a présenté, analysé et conversé avec plus d'une vingtaine de réalisateurs et techniciens du cinéma venant du monde entier et travaillant dans tous les styles. Ainsi, dans un même regroupement de pages, il est possible de lire par exemple des interviews d'Eugène Green et de Lewis Teague. Cinéastes qui n'ont - l'amour du cinéma mis à part - rien en commun. La force de Ciné-Bazar tient dans ces entretiens, coeur des numéros. Mais autour de ces rencontres, viennent aussi se lier différentes critiques et analyses passionnantes, écrites par des collaborateurs venant eux aussi de plusieurs directions. Bien comprendre Ciné-Bazar c'est se laisser aller à la lecture et accepter cette diversité qui traverse les pages et qui fait aussi le cinéma.
Au sommaire : Budd Boetticher, Peter Bogdanovich, Jack Sholder, Lewis Teague, Mick Garris, Jean-Charles Tacchella, Tina Hirsch, Fred Dekker, Joe Dante, Arnold Kunert, Julian Gilbey, Eugène Green, Enzo G. Castellari, George Hilton.
