Each citizen of Jotuomba plays an integral role in village life. Madalena is responsible for baking bread; each morning she stacks her rolls as Antonio prepares the coffee. The two share a ... See full summary »
Jan's fastfood-business is going bankrupt, his girlfriend has left him, and he is being exploited by his live-in father. Therefore, he has nothing to loose when he gets mixed up in the ... See full summary »
The life and times of Cazuza, Brazilian singer/poet/enfant terrible, from his start with rock group "Barão Vermelho", to his death from Aids, in 1990, showing his career, love affairs, and involvement with drugs.
Daniel de Oliveira,
The Caravana Rolidei rolls into town with the Gypsy Lord at the mike: he does magic tricks, the erotic Salomé dances, and the mute Swallow performs feats of strength. A young accordion ... See full summary »
Tai is 17 years old. Naim is 20. She's Israeli. He's Palestinian. She lives in Jerusalem. He lives in Gaza. They were born in a land of scorched earth, where fathers bury their children. ... See full summary »
The mysterious arrival of a foreigner to a small village in a Mediterranean island, awake the sudden interest from a diverse group of residents, who will appear unexpectedly in the ... See full summary »
Giorgi is 16 years old when he discovers another world through American films forbidden in all Soviet Union until then. Since the post-revolutionary chaos in his home town, Tbilisi, Giorgi ... See full summary »
Each citizen of Jotuomba plays an integral role in village life. Madalena is responsible for baking bread; each morning she stacks her rolls as Antonio prepares the coffee. The two share a morning ritual of arguments and insults, followed by an amicable cup of coffee on the bench outside Antonio's shop. At midday the church bells ring, summoning the villagers to mass. In the early evening, they all share a meal together. And so life proceeds in Jotuomba, the days languidly drifting into one another. The only variations seem to be in the weather. One day Rita arrives looking for a place to stay. She came upon the village while traveling through the valley, following the unused railroad tracks. She is a photographer, intent on capturing the village's special allure. Initially reticent, the townsfolk gradually open up to her, sharing their stories and allowing themselves to be photographed. Rita is comfortable with technologies old and new, and Madalena teaches her to knead dough by the ... Written by
Some films just beg to be shorter and this is definitely one of them. What you get with HISTORIAS QUE SO EXISTEM QUANDO LEMBRADAS is basically a glorified Twilight Zone premise stretched out to fit feature length: a young photographer arrives to a rural village in the Brazilian county-side full of old people where it's revealed that no one can die. It might have worked if it had been a short film but, as is, there's just not very much there. It never really moved beyond that premise with real plot. To fill up the time, they force in all these stray scenes of exchanges between the girl and the villagers--scenes full of cloying poetry and insights that would be better suited to a greeting card. The girl wanders around, takes some pinhole pictures, watches the villagers do their daily rituals of survival over and over and over again, etc. After an hour of this you just want to yell at the screen: "I GET IT! LIVING FOREVER AND BEING FORCED TO DO THE SAME THING OVER AND OVER AND OVER AGAIN IS BORING AND A HORRIBLE BURDEN!" What might have stood out or worked if it was say, a half hour, gets flattened to lullaby level of tedium in 100+ minutes. That's the dominant adjective for this movie: flat. It just never feels very organic. It's clearly a manufactured film with a manufactured narrative. The writing is very basic and exhaustingly formula driven. I was hoping it would take advantage of all the dark and shadowed possibilities its theme invites or become the real mystery that it promised to be...but there is no payoff. If it weren't for the very lovely lensing provided by Lisandro Alonso's usual cinematographer, Lucio Bonelli, I'm afraid the director wouldn't have much of a film at all. The visuals really do carry this thing. And the actors do a fine job, considering what little they have to work with. I really wanted to like this one, but I'm sorry to say it just put me to sleep. Maybe skip this one and seek out Bonelli's other work instead (like the gorgeous LIVERPOOL).
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