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 ...
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Glória is a woman from Rio de Janeiro who tries to move on with her life despite the traumas caused by an abusive father and a drug dealer brother. She starts therapy with Camila, a young Portuguese psychoanalyst.
Joana de Verona,
Marco Antonio Caponi
In Budapest in 1944, a watchmaker, a book seller and a carpenter are drinking in a bar with the owner,when they are joined by a stranger. The watchmaker asks a hypothetical question that will change their lives.
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,
In the thirties, two sisters separated by fate face prejudice and sexism, one by the high society in a big city and the other by a group of renegades in the countryside. Despite the ... See full summary »
Banned for over a decade for its outspoken criticism of the post-WWII communist regime in Hungary, Péter Bacsó's 'The Witness' has since then achieved unparalleled cult status in its native... See full summary »
Young Tony decides to return to his hometown. There, he discovers his father has returned to France claiming to miss his friends and country of origin. Tony ends up becoming a teacher, and finds himself amid conflicts and inexperience.
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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