Directed by Lázaro Ramos, with the cast Alfred Enoch (Antônio), Seu Jorge (André), Taís Araújo (Capitu), Aldri Anunciação (Ivan), Adriana Esteves (Isabel), Mariana Xavier (Sarah), Renata Sorrah (Dona Izildinha) , Emicida (Berto), among others.
The screenplay is based on a play by Aldri Anunciação that played in 2011.
The story takes place in an uncertain future in Brazil, when blacks are called accentuated melanins. An authoritarian government issues an executive order, number 1888 (a reference to the year in which the Golden Law was signed in the country), which requires all citizens of African origin to move to Africa. The government guarantees the one-way ticket. Isabel is the head of the department that registers and sends such citizens out of the country. André, a photojournalist who maintains a blog, is one of those who question the government's orders. Capitu, a doctor married to Antônio, realizing that the police would forcibly remove her from attending to a man injured in the leg to be sent to Africa, manages to escape, saving a black mother with an albino daughter from the police, is rescued by Ivan and sheltered in a kind of quilombo, called an afrobunker by its members. Antônio and André are isolated inside their apartment, with the neighbor Dona Izildinha, a racist one, as Isabel's helper to make the two leave the apartment. Antônio doesn't know where Capitu is, but he doesn't leave his apartment. After much confusion and persecution, Capitu and Antônio meet again, being arrested by Isabel. But what seemed like a tragic ending... The premise is great, the mostly black cast is a rarity in Brazilian cinema, the discussion of structural racism is current, but the whole thing didn't work as it should. Still, I liked the movie. Deserved tributes to Marielle Franco, Ruth de Souza, Zezé Motta, Mestre Moa, among others, who appear in photographs, objects and graffiti in the film.
The photography in yellow tones and blurred images in the background were interesting artifices to represent a future era without the need for special effects or the use of futuristic objects.
As a highlight, I mention the great performances of Seu Jorge, Adriana Esteves, Taís Araújo and Renata Sorrah. I still don't like actor Alfred Enoch. The chemistry between him and Taís Araújo didn't work, the two didn't convince me as a couple in love. I found the performance of this English actor, son of a Brazilian, very forced, not because of the Portuguese, which sounds almost without an accent, but because of the performance itself. He didn't convince me at any point in the projection, unlike Seu Jorge, who plays cousin André, debauched, good-natured, who easily panics in difficult situations.
Lázaro Ramos' directing work is good and could improve a lot. The final scene, in which he appears, exudes a lot of emotion.
The screenplay is based on a play by Aldri Anunciação that played in 2011.
The story takes place in an uncertain future in Brazil, when blacks are called accentuated melanins. An authoritarian government issues an executive order, number 1888 (a reference to the year in which the Golden Law was signed in the country), which requires all citizens of African origin to move to Africa. The government guarantees the one-way ticket. Isabel is the head of the department that registers and sends such citizens out of the country. André, a photojournalist who maintains a blog, is one of those who question the government's orders. Capitu, a doctor married to Antônio, realizing that the police would forcibly remove her from attending to a man injured in the leg to be sent to Africa, manages to escape, saving a black mother with an albino daughter from the police, is rescued by Ivan and sheltered in a kind of quilombo, called an afrobunker by its members. Antônio and André are isolated inside their apartment, with the neighbor Dona Izildinha, a racist one, as Isabel's helper to make the two leave the apartment. Antônio doesn't know where Capitu is, but he doesn't leave his apartment. After much confusion and persecution, Capitu and Antônio meet again, being arrested by Isabel. But what seemed like a tragic ending... The premise is great, the mostly black cast is a rarity in Brazilian cinema, the discussion of structural racism is current, but the whole thing didn't work as it should. Still, I liked the movie. Deserved tributes to Marielle Franco, Ruth de Souza, Zezé Motta, Mestre Moa, among others, who appear in photographs, objects and graffiti in the film.
The photography in yellow tones and blurred images in the background were interesting artifices to represent a future era without the need for special effects or the use of futuristic objects.
As a highlight, I mention the great performances of Seu Jorge, Adriana Esteves, Taís Araújo and Renata Sorrah. I still don't like actor Alfred Enoch. The chemistry between him and Taís Araújo didn't work, the two didn't convince me as a couple in love. I found the performance of this English actor, son of a Brazilian, very forced, not because of the Portuguese, which sounds almost without an accent, but because of the performance itself. He didn't convince me at any point in the projection, unlike Seu Jorge, who plays cousin André, debauched, good-natured, who easily panics in difficult situations.
Lázaro Ramos' directing work is good and could improve a lot. The final scene, in which he appears, exudes a lot of emotion.