The actor of a film being made lives without distinction his own personal reality and his character's fiction. As the involuntary object of chance and circumstance, he looks for a meaning ... See full summary »
A poor family in the Northeast of Brazil (Fabiano, the father; Sinhá Vitória, the mother; their 2 children and a dog called Baleia) wander about the barren land searching for a better place... See full summary »
As his first assignment, lieutenant Drogo is sent to an isolated fortress on the borders of a desert and of a range of high mountains. The mission of the garrison is to prevent a possible ... See full summary »
A man and a woman arrive in a cafe-hotel near the belgian frontier. The customers recognize the man from the police's description. His name is Amedee Lange, he murdered Batala in Paris. His... See full summary »
The story of a famous Brazilian criminal, called The Red Light Bandit because he always used a red flashlight to break in the houses during the night. Working alone, he also used to rape his female victims.
Eldorado, a fictitious country in Latin America, is sparkling with the internal struggle for political power. In the eye of this social convulsion, the jaded journalist Paulo Martins ... See full summary »
Fictionalized account of the adventures of hired gunman Antonio das Mortes, set against the real life last days of rural banditism. The movie follows Antonio as he witnesses the descent of ... See full summary »
Geraldo Del Rey,
Eduardo Coutinho was filming a movie with the same name in the Northeast of Brazil, in 1964, when there came the military coup. He had to interrupt the project, and came back to it in 1981,... See full summary »
Tite de Lemos,
The actor of a film being made lives without distinction his own personal reality and his character's fiction. As the involuntary object of chance and circumstance, he looks for a meaning and way out, while being pursued by outlaws, a magician, a romantic fantasy, a drunk and his own self-image. The humour, the reason of the persecution, situations, personages, set decoration, dialogs and soundtrack (which uses themes from other films) lead us to symbols, metaphors and the refusal of a possible logical narrative, in a way to allow the viewer to experiment a sensation analogous to the one of the main character, inducing in him the need of thinking a meaning while lost and led by the sustained expectation, and by the intentionally recurrent anti-climax. Written by
Effin' brilliant film! Whoa whoa whoa . Here is something with a bit of Godard, a bit of Carax, a bit of Bunuel, a bit of Tati, a bit of The Beatles, and a lot of staggering, enjoyable and groundbreaking originality. There is no story, ahh well, there is a faint idea of a story but I won't disclose it, rather leave it for you to figure out but thematically, I found similarities with Holy Motors, and I feel Carax must have been deeply inspired by this. This is a striking piece of work, introducing nonsense conversations, extended road trips, a strange group of bandits, a divine dancer, a wondrous bed scene (that'll leave you agape, literally :D), a few absurd taxi rides, and above all, a protagonist who almost floats through the narrative, leaving us no clue to what is real and what is not. The characters are devoid of introduction or history or perspectives, the film devoid of a conclusion, and yet the movie has been made with such beauty and hold over the technique and the aesthetics, that it will blow your mind. The camera is amazing, the way the landscapes are shot is breathtaking, and the crisp quality of images is great to savor. Tonacci's sound design is excellent too, as image-sound relationships are aggressively explored. In a strange manner the film entices the audience, drawing their participation, even as the actors look into the camera and talk, putting their role in the frame and the 'reality' of the event in question. Editing is taken to supreme heights, and takes us back to the magic era of silent films, where editing was the trick of the trade for comedies. Godard comes through the criticism of capitalism, the car becoming a burning symbol (Weekend ); Bunuel through the reluctance to move towards any ending, in fact reiterating the sequences; Tati through the rigorous composition of frames; The Beatles through "Day Tripper" and if that wasn't enough, there is a film within the film, and it is very very hard to separate the two. It will be criminal not to mention the extraordinary dance sequence that pops out of nowhere, gives the film an entirely new touch of class and audacity, and floods you again with the exciting, unconventional, rebel attitude that dominates Tonacci's ideas. Worth every second spent!
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