Is Somebody Looking For His Stuffed Toy Octopus? Does Anybody Know A Man Missing A Plushy Darling?
We found this poor creature in the men's room of Rotterdam's Cinerama right after a screening of some serious Brazilian smut-fest, Jean Garret's Fuk Fuk à Brasileira (1986). It was lying around there looking lost. There was nobody else at the pissoirs. The stalls proved empty. Someone was obviously so lost in his own sweet or sour self that he forgot his stuffed toy octopus! What could he have been thinking about for this to happen?
Could he have contemplated the programmers' collective nastiness which made them select a film in which, as we were told, a donkey gets slaughtered en detail and for an extended period of running time? And no, we won't mention the title here knowing only too well that this might encourage some sickos to search out this...this.
We found this poor creature in the men's room of Rotterdam's Cinerama right after a screening of some serious Brazilian smut-fest, Jean Garret's Fuk Fuk à Brasileira (1986). It was lying around there looking lost. There was nobody else at the pissoirs. The stalls proved empty. Someone was obviously so lost in his own sweet or sour self that he forgot his stuffed toy octopus! What could he have been thinking about for this to happen?
Could he have contemplated the programmers' collective nastiness which made them select a film in which, as we were told, a donkey gets slaughtered en detail and for an extended period of running time? And no, we won't mention the title here knowing only too well that this might encourage some sickos to search out this...this.
- 8/27/2012
- MUBI
The Aesthetics of Garbage, Part 1 can be found here.
Above: O insigne ficante (The Inisg Nificant, 1980).
“Make films to occupy run down, low class theatres and be subsequently forgotten” —Rogério Sganzerla
One of the quintessential traits of Cinema Novo was the firm rejection of anything Hollywood; films like The Red Light Bandit and O pornógrafo (The Ponographer, 1970) by João Callegaro on the contrary, eagerly cannibalized popular American culture. Cultural appropriation is manifest throughout Callegaro's film, which openly references noir flicks whose aesthetic codes and conventions are borrowed and subverted by the director. While retaining an unmistakable Brazilian flavour these films openly boast their spoofy hybridism, combining high and low culture at a time when the term post-modernism had yet to be coined. True inheritors of Oswald De Andrade’s Anthropophagic Manifesto, these were metropolitan indians suffocated by the orthodox traditionalism of the left on one side and by an increasingly oppressive regime on the other.
Above: O insigne ficante (The Inisg Nificant, 1980).
“Make films to occupy run down, low class theatres and be subsequently forgotten” —Rogério Sganzerla
One of the quintessential traits of Cinema Novo was the firm rejection of anything Hollywood; films like The Red Light Bandit and O pornógrafo (The Ponographer, 1970) by João Callegaro on the contrary, eagerly cannibalized popular American culture. Cultural appropriation is manifest throughout Callegaro's film, which openly references noir flicks whose aesthetic codes and conventions are borrowed and subverted by the director. While retaining an unmistakable Brazilian flavour these films openly boast their spoofy hybridism, combining high and low culture at a time when the term post-modernism had yet to be coined. True inheritors of Oswald De Andrade’s Anthropophagic Manifesto, these were metropolitan indians suffocated by the orthodox traditionalism of the left on one side and by an increasingly oppressive regime on the other.
- 2/28/2012
- MUBI
We have a report or two from the International Film Festival Rotterdam on the way, so this'll be something of a supplementary roundup, collecting reviews, impressions and so on from the festival that runs through Sunday. The first main event would have to be the world premiere of the film Takashi Miike is now calling Ace Attorney. The Iffr has posted a video record of Gawie Keyser's "Big Talk" with Miike that took place on Saturday. The introduction's in Dutch, and it's followed by a trailer with English subtitles (much longer, too, than the first trailer) and the conversation itself is a mingling of questions in English and answers in Japanese with Dutch subtitles. Miike obsessives, though, will be able to sort out what's being said.
"The Iffr and Miike have been friendly towards each other ever since Audition had a few legendary screenings over here back in 2000, and it...
"The Iffr and Miike have been friendly towards each other ever since Audition had a few legendary screenings over here back in 2000, and it...
- 2/1/2012
- MUBI
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