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See also my list of movies that combine animation and live action: https://www.imdb.com/list/ls046637447/
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There are other nice Brazilian movies in these lists: Great movies about/in Rio de Janeiro Great movies about/in São Paulo Movies about Northeastern Brazil
Indeed, the present list brings good Brazilian movies which stories are held neither in Rio nor in São Paulo or Northeast and that are not documentaries.
I have also made a list of Brazilian movies with up to three films representative of each state.
To be added: short films: "O balãozinho azul" by Fáuston da Silva, "Os irmãos Mai", "Nó" (2014 - https://www.facebook.com/marcofilmescurtano/), and "Para chegar até a lua". http://curta-animacao.blogspot.com.br/2011/05/para-chegar-ate-lua.html I'd also like to add short film "A espera", from Ernesto Solis: https://www.youtube.com/watch?v=nAIoPmqd4aw Also to be added short film "A última crônica" by Jorge Monclar https://youtu.be/Bw0K2ISQ63I The short film "Zimbú", from Marcos Strassburger Souza. https://youtu.be/LwQlUWs5RZc Add: As Cobras, from [linkhttp://www.imdb.com/name/nm0346069]Otto Guerra[/link]: portacurtas.org.br/filme/?name=as_cobras_o_filme The short film "Os três porquinhos". http://portacurtas.org.br/filme/?name=os_tres_porquinhos Add: animated short Égun: http://portacurtas.org.br/filme/?name=egun
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You can also see two other lists of mine for Brazilian films: Movies about Northeastern Brazil Great movies about/in São Paulo Some nice Brazilian movies
I have also made a list of Brazilian movies with up to three films representative of each state.
ADD: short film "O bolo". https://www.facebook.com/obolocurta/ https://youtu.be/a-6GfbdBkCA
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Reviews
Batman: The Doom That Came to Gotham (2023)
The best Batman film in an alternate timeline
One of the best DC animated films ever, and the very best (among the several I have watched so far) that presented the Batman in an alternate timeline or reality. I loved the Bram Stocker beginning (with an extract from Dracula), and the eventual elements of Cthulhu and zombies. The vintage design of the scenes, in reference to the 1920s, is very nice, sometimes reminding noir aesthetics, sometimes more steampunk (what a batmobile!). As the film becomes more action-oriented, it loses a little its excellent initial nightmarish horror atmosphere, but was still nice. The Orientalist traits which eventually are explored are amusing too. The two core batvillains in the movie are great characters, in awesome version here! The Penguin and Harvey Dent had short but nice insertions too. By the way, the "old alphabet" mentioned by Bruce Wayne is obviously Devanagari (and it is funny that the name Iog-Sutha seems to echo the term "yoga-sutra", the important Sanskrit writings).
A Serpente (2016)
Why does "A Serpente" always have bizarre adaptations to cinema?
The dialogues presented in theatre-style overacting and the cold black and white cinematography lead to a weird outcome which makes spectator keep a distance, lacking interest for what is happening, even though far from ordinary situations take place (including Naechtergaele sucking Lucélia Santos's breast). The strange script makes the simple story become more complicated and confusing than what would be resonable too. It seems that the last play by Nelson Rodrigues is the most unfortunate in adaptations to cinema despite having good casting, as 1992 film was also horrible, despite having actors such as Marco Nanini and Zezé Motta. Bizarre and boring film, perhaps even worse than that one from the 90s.
Covid Diaries NYC (2021)
interesting documentary on people who were particularly vulnerable do Covid
Interesting documentary composed by segments directed by different young fimmakers, which show people who were particularly vulnerable to Covid pandemic, as they could not protect themselves due their jobs or economic situation. There are a delivery boy and his janitor grandmother, a mailman, a worker in public transport, cleaning workers, a bus driver, a maid, and unemployed people due the close of restaurants. People who needed to work in several places and to use daily crowded public transport. Outcomes vary in the issues they put in evidence. The first one was my favourite by far. Another great moment waswhen the bus driver answered to her daughter that his job was more important than his survival, as he had to pay the bills and the rental, and at least he was not unemployed.
Passagem Secreta (2021)
Underdevelopped script, a mess, despite visual qualities
I had good expectations when I saw that good cinematography and nice 1980s art direction, with many references to old horror and sci-fi movies. Unfortanately, there are not other strong elements in this messy production from Londrina. Firstly it seemed to be a thriller held in the 1980s, then a family drama, but eventually another group of teenagers appeared in a clear attempt to have a camp or cartoon atmosphere in a high scool coming-of age flick. However, that overacting simply did not work, became ridiculous and unconvincing, as it neither fit what was shown previously nor exaggerated performance is enough for succeeding to reach a magic realism. Luiza Quinteiro has the only good acting performance in the whole movie, and bad direction becomes very clear particularly when less experienced actors are on screen. Fernando Alves Pinto did not help, as expected, and situation worsened as his character became more important. The geral plot idea is nice, but very badly developped: horrible artificial dialogues, lack of a careful evolution of facts and unnecessarily confusing last part. Sci-fi or fantastic realism are both suggested but unclear outcome does not allow to answer what did happened there. It is a movie which does not know what it is about, and and that does not tell the story properly. Sometimes it seems 1980s Super-Friends, 1960s Batman, or a bad version of Monica's gang, or a failed homage to Coffin Joe. It is a mess.
Nothing Sacred (1937)
A true gem, hilarious first 27 minutes!
Very amusing old movie combining a conventional romantic comedy with an ironical approach on yellow press and charlatanism, and a touch of camp and of dark humor. As I read elsewhere, it is a screwball comedy, that is, a subgenre of the romantic comedy that satirizes the traditional love story and that was popular between early 1930s and early 1950s. While the movie goes well until the nice ending, its first 27 minutes are no less than hilarious. I laughed loud! I loved the town Warsaw, Vermont, which may be seen as a character itself, with really funny denizens. I also liked a lot, previously, the Sultan of Marzipan "from the Orient", and, before it, the charming opening credits featuring caricature action figures of the leading actors and cartoon images in papers which shot being changed by live action hands. Deffinitely, not a movie to be forgotten, certainly worth watching!
Swing You Sinners! (1930)
Very nice and creepy, preparing for Bimbo's Initiation
Very innovative animated film from Dave Fleischer, which, while not as extraordinary is Bimbo's Initiation from the following year, also puts the character in spooky situations and explores animation surrealism in a radical way Disney, Looney Tunes, Woody Woopecer, and so forth would do only later. The nice film is divided in two quite different parts, both with the aforementioned elements of surrealism. In the former, which comprises just a third of it, Bimbo has problems with a chicken (which eventually becomes clear that he wanted to steal) and law and order. The second and larger part is a creepy musical where Bimbo flees from death, which is represented by multiple creatures, ghosts, monsters, and animated objects, in an accelerated sequence of run and horror.
Bird (1988)
A different movie in Eastwood's filmography
This is a very different movie inside Clint Eastwood's career as a director, particularly considering his so perfectly structured movies from mid-1990s on. "Bird" is very impressionistic (and Eastwood is a huge fan of jazz, and his impressions are there, with a lot of music too), with little care about contexts and no didacticism about the historical details. I loved the film in its visual, with its shadows and lights, and period art direction, and Forrest Whitaker is a great actor as everybody knows, but I cannot say the same about the script. Pace is far from engaging, the story explains little and also does not impact emotionally as one could expect given the tragic short life of Charlie Parker.
O País Da Pornochanchada (2022)
A documentary about the history of sexploitation cinema which also makes that history
The documentary is a mix of four different things, which perhaps are not very balanced, but its outcome is nice anyway: it is a movie about 1) the quest of director Adolfo Lachtermacher to find a never released pornochanchada (Brazilian sexploitation genre) movie by his father Saul Lachtermacher ("Com minha viúva, não!", also known as "Com o Sexo na Cabeça"), 2) Saul's filmography in general (which also included "Deixa, Amorzinho... Deixa", "O Marido Virgem", and "Com Minha Sogra em Paquetá"), 3) Adolfo's personal experience growing up close to the cinema environment of his father, and 4) an analysis of pornochanchada age in general in Brazilian cinema. Off course the four parts are connected, and Adolfo used Saul's movies (including "Com minha viúva, não!") to discuss the traits of the very genre. The almost absence of other films, however, is certainly the greatest drawback of the documentary, which did propose to investigate the last 50 years of Brazilian cinema. Anyway, the qualities overcame the problems, as Adolfo's text is very good, with a quite intelligent analysis of what pornochanchada meant, without either attacking it or being complacent. As Adolgo says, it reproduced the prejudices which existed in Brazilian society, but also its strong sexism somehow also meant more authonomous and free female characters than the passive ones in previous decades. Sex appeared in a quite exploitation way with profit intentions, for sure, but also it was not something comfortable for extremely moralist and old-fashioned military dictatorship, bringing to the screen important cultural changes in society. Adolfo also presents interestingly how commercial cinema in Brazil evolved from the stage-made naive comedies Chanchadas towards sexploitation outdoor-made Pornochanchadas (while Cinema Novo existed in parallel antagonising it with contempt, and Glauber Rocha said that they created Brazilian cinema), and then to increasingly unsophisticated and politically incorrect cheap comedies and to actually pornographic films. I also liked to know that a single graphic artist made a great number of the painted posters of pornochanchada films: Benício. To resume, I liked the documentary and am very happy that Adolfo could also release his father's movie, 41 years after it was shot.
Com o Sexo na Cabeça (1981)
A great Pronochanchada (Brazilian sexploitation), released after 41 years!
I am glad that filmmaker Adolfo Lachtermacher decided to search this sexploitation movie of his father, also moviemaker Saul Lachtermacher, who shot it in 1981, never released it, and died in the following year. Fortunately, Adolfo found it in 2022 and released it on April 28, 2024, together with a nice documentary he made about it, also addressing Brazilian sexploitation genre, known as "pornochanchada". "Com minha viúva, não!" is one of the best pornochanchadas I have watched, with very funny moments (which overcome the silly or problematic ones, such as those reproducing homophhobic prejudice) and a fantastic metalinguistic element, playing with what is reality and what is fiction (something I have seen in another great pornochanchada, "As delícias da vida", from 1974). In Saul Lachtermacher's film released in Canal Brasil immediately after his son's documentary and 41 years after producing it, there is a smart script which not only plays with metalanguage, but also mocks on the very Brazilian cinema industry of those times, with its sexploitation, the lack of money, and the shadow of censorship under military dictatorship. It is also a delight seeing actors who have passed away starring the movie, such as Flávio Migliaccio, Rossana Ghessa and Jorge Dória.
John Ware Reclaimed (2020)
The subject is much better than the documentary
This documentary has good moments, particularly some reflections about racism and the black question in Canada, and is directed to exploring an interesting historical character whose stories did catched my attention. However, the director follows a path which always make me complain a lot when I see it in cinema (it has been recurrent among Brazilian documentaries, with filmmaker Petra costa being the most famous case): she talks too much about herself and her family, mixing them with the supposed subject of the movie, with no real reason for doing that. Additionally, I considered it a very loose film, stretched with musical clips, animated insertions, and relatively not so much about black cowboy John Ware himself.
Letters from Iwo Jima (2006)
Awesome anti-war movie by Clint Eastwood on the view of the Japanese
Great World War II movie by Clint Eastwood, made from the view of the Japanese side, just like his other good film from the same year, Flags of our fathers, portrayed USA view. Neither of them did it from a jingoistic view, to be clear. Eastwood's approach on both was an anti-war one: while showing the conflict in really impressive and well made scenes (no less than amazing), message and grey palette always emphasize brutality, the lost lives, the harsh survival conditions. In Letters from Iwo Jima it is even more remarkable, not only for being a more balanced production and script, but specially for exploring in depth Japanese individuals despute meing an US movie, with excelent characters (both in conceptual development and in acting performance). Eastwood was very carefull, in several moments (not mentioned here in order to avoid spoilers), to make it clear that this would not be a anti-Japanese propaganda film, and that people in both sides may be good, may be bad, may be victims, may commit mistakes, suffer. It joins orher masterpieces from Eastwood in his incredibly sensitive filmography: Gran Torino, Million Dollar Baby, Invictus, Unforgiven, The bridges of Madison County, Mystic river... By the way, general Kuribayashi is a brilliant strategist, but for some officers a biased idea of honour lays above intelligence and above the very accomplishment of the mission.
Kureopatora (1970)
Curious, bizarre, full of contrasts, remarkable
It is a curious Japanese animated movie. The script is a mess but has funny and smart moments. Animation itself is mostly rough, but the film changes many times the animation style (either mixing real footage with animation, or with minimalist drawing, or without the black line, and so forth) in a sophisticated way. The story happens mostly in classic Cleopatra's arch in Egypt and Rome, but there is also an odd time-trip sci-fi story where it was bizarrely inserted. It is widely known as an erotic animated film but despite a lot of drawn nudity there is no explicit sex, as all sexual activities are shown in various animation styles which never display hardcore parts. There is a lot of explicit violence but animation graphism lessens its brutal impact. Julius Cesar is green with no reason, but Egyptian characters follow historically coherent racial skin colours pattern. Egypt and Rome are well presented but many surrealist references to modern culture, history and arts elsewhere provide an unexpected but interesting experience. To resume, it is not among the best animated films I have watched, but it is certainly not forgettable either.
Flags of Our Fathers (2006)
Butchery, nightmare, showbiz
"Flags of our fathers" is a quite good war movie by Clint Eastwood. Besides the very well made war scenes, it must be praised for its script, so far from a narrow patriotism someone could expect for the poster picture. Indeed, that very poster is much more meaningful than I could have imagined. The film shows war as butchery, as nightmare, as showbiz. Among several life stories addressed, the most striking is certainly the one of Ira "Chief" Hayes. In both how he behaved and in how people dealt with him, it represents a lot the very United States in the place the country sets aside for native people.
The Last Voyage of the Demeter (2023)
An innovative and successful approach for a new adaptation of Dracula
This is a good horror film, very interesting for its unusual approach: exploring a small and often negelected part of the novel Dracula and making a period horror film inside a boat. The film is visually nice in both the Gothic elements and in the vampire representation. The characters created for filling the blanks, as the segment of the logbook is small in Bram Stocker's work, are interesting ones (and credible, despite de fragrant intention do adapt a Victorian work into contemporary inclusiveness concerns). Edition works well for providing the proper horror atmosphere. The only drawbacks, which are not enough to undermine the good outcome, are the ending (in a tone which is acceptable but not the one I would prefer) and the stupidity of the crew in their dumb strategies to fight the menace. I enjoyed the movie, anyway, and consider it true to the classic work of Bram Stocker.
Cadillac Records (2008)
Into the history of (black) music legends!
A great film on the history of black music in the United States in the 1940s and 1950s, the transformations of US society in that decade and the evolution of the black question and racial prejudice in that country, the innovations in blues and birth of rock n'roll (with a great influence of those black artist in the rising white stars from England and USA). Casting is great and performances are fantastic. The film has good art direction which makes spectator travels to that age of social and cultural key changes. Through skilled actors (and singers!) Adrien Brody, Beyoncé, Jeffrey Wright, Columbus Short, Mos Def, and Kevin Jackson we know a little more about giants of music such as Muddy Waters, Little Walter, Chuck Berry, Etta James, Howlin' Wolf, and Willie Dixon, besides key producer Leonard Chess.
Já que Ninguém me Tira pra Dançar (2021)
Impressionist view on Leila Diniz
A generous documentary for a generous bright star. It is a film that succeeds in making spectator know who was Leila Diniz. However, differently from what is usually the expected, it is much more impressionist than careful in following her steps, big events, and detailed list of works. The documentary presents, instead, very personal testimonies of people who had closeness with her as friends and colleagues, besides pictures and footage. That mosaic constitutes a powerful and coherent portrayal of that strong, empathetic, loving, irreverent, intense, feminist, pioneer and brave artist and woman.
Nardjes A. (2020)
On the youth demonstration in Algeria for political change
Brazilian filmmaker with Arab origins Karim Aïnouz Demonstrations in Algeria for ousting Bouteflika and avoiding his fifth term as president (his last two were alegedly kept by electoral fraud). Karim Aïnouz presents beautiful footage, incredibly shot only with a smartphone in a single day, and follows one activist in particular. Nardjes is actually a good choice: she is charismatic, communicative, daugter and granddaughter of people who died or have been in jail fighting for the country independence. Indeed, the documentary is partially based in her very view of the whole situation, as the scenes go where she is and a great part of the explanations about what was going on were given by her. Off course who controls the camera also presents his own point of view, emphasizing elements she had no control, such as the stong religious cultural behaviour, the presence of a man with Down syndrome among the multiple activists, two men firting with Nadjes (only the first of them being gentle), and some curious writings in the signs, either against the opinion of foreigners or saying that the prostesters were white, red and green (!) blood cells. Considering both her analysis, what activists cried or their testimonies as interviewees, and what images showed, it is clear that while there were elder people in the crowd (and one of them mentioned French oppression and the struggle against it), it was mostly a demonstration of a youth without prior political experience. Football support aesthetics and an atmosphere of party overcame the references to past struggle against colonial rule. It is related both to the wish of generational renewal in politics by very young activists and the understanding that the authoritarian militarized regime had its origins in people who were initially heroes of independence. The fear of violent repressions existed, and they happened elsewhere, but nothing more serious has been captured by the film.
Nightmare Alley (2021)
Dark circus, the world of deception
Guillermo del Toro is a great director, who is able as few to explore fantasy and magic realism in a unique and dark way. Here, the world of circus is in the core. The magical and extraordionary on stage are generally just acting, we know, but depending on the intentions it may be seen as deception. Indeed, in the story almost everybody are terrible people, with no moral code but the search for profit or feeding a addiction. It becomes quite violent sometimes, as also harsh and depressing, raw. The good story (which is a remake, and I am very curious about also watching the 1947 movie) has a good development and the best end possible. Art direction and acting are perfect. The film perhaps becomes slightly less interesting in the middle, after a great beginning inside the circus, and becomes excellent again when Bradley Cooper's character follows his ambition and meets Cate Blanchet's.
Como Respirar Fora d'Água (2021)
Great potential, but seems unfinished
This Brazilian short film certainly has a good production and an important intention, but unfortunately it seems not to have a script, but just an idea for a script. It presents some traits of the black main character - she is a young lesbian woman who is also a swimmer - but only her colour does have consequences for the story. The parallel between her and her father, as he is a policeman, is very interesting for discussing racism in the police, but the issue is only presented and the film ends without developping any story. Outcome is tepid, with undevelopped added elements, and seems unfinished.
Amélia (2000)
Comedy of manners and contrasts
Very funny comedy of manners full of dark humor and magic realism about fictional moments world famous French actress Sarah Bernhard with the sisters of her Brazilian maid Amélia. Dialogues and situations are hilarious, exploring the problems of communication and contrast of cultures. There are many colorful characters, such as slf-centered and lunatic Sarah and the two Amélia's sisters and an additional household member (there are references to Lady Macbeth and to witches in Sarah Bernhard's lines, which may apply to herself and to the three unsophisticated women), the hyperactive assistant of Sarah who speaks in several languages but Portuguese (Betty Gofman had my second favoutite performance together with Béatrice Angenin and second only to Myrian Muniz, brilliant as the elder and rougher of the "witch" sisters), the Portuguese actor who tries to have some profit in that situation, and the businessman who frigthens indebted actress. A great ending for the film in which the French superstar always loked to Brazil with colonial eyes.
Sherlock Holmes Faces Death (1943)
A murder mistery movie with some problems but with the perfect Sherlock Holmes
Pace is sometimes a little clumsy, there is a lot of unconvincing overacting, and the very beginning seems too much theatre. However, the film improves when the famous detective finally appears. Basil Rathbone is a perfect Sherlock Holmes. His first dialogue with Watson is exactly what you expect for the characters. I think Musgrave Manor as a whole could have been better explored and shown; the script and edition fragmented too much its portrayal. Anyway, there are some charming atmospheric thriller elements, such as the crow, the ritual and the storm, besides a few funny gags. The ending is also pretty nice.
Phantom Thread (2017)
Feeling the atmosphere of a remarkable dysfunctional relationship
Always fabulous Daniel Day-Lewis portrays perfectly a successful arrogant fussy short-tempered methodical obsessive authoritarian and intolerant haute couture dressmaker, who is often ambiguous about praising or criticizing. Vicky Krieps also shines in a very delicate and precise performance in the role of the unsecure enamored former waitress who admires him and always expects something from him that never comes. Paul Thomas Anderson's competent direction appears not only in their remarkable performances but also in every element that contribute for the recurring atmosphere of tension, oddity, discomfort, imminent disruption in their dysfunctional relationship. It is a movie to slowly feel beyond watching. Will that bizarre relationship have a happy end? Well, how much what is happiness may vary deppending on whom it is applied to?
Mato Seco em Chamas (2022)
They tried to make a Bolsonaro dystopia in Brazil, but the film fails
The movie intended to be a dystopian fable of Bolsonaro's Brazil with its militarism, fake patriotic defense, widespread charismatic Christianity, and impoverishment of people. However, the excessive long length and terrible pace make it a failure, and the script tries many things without reaching any cohesion. There is the intention of putting peripheric (and formerly in jail) lesbian black women as protagonists in a naturalistic aesthetics such as the recurrent one in films from Contagem, but the script is bad and the references are fragrant and not sophisticated. The grimy aesthetics in a slum in Ceilândia (near Brasília) in the very beginning seemed promising but soon the terrible pace became an obvious constraint. The first 14 minutes could have been two! Together with a lack of events, there is a boring testimony in a documentary style in order to compensate the impossibility of understanding what is going on simply by watching the scenes. After the title of the movie appears, situation does not change for nearly one hour and a half. Almost nothing happen, and pace is sluggish as hell. There are many boring or annoying scenes intending to show that atmosphere, but they are often too long (and recurrently with long bad music). The most remarkable was the bizarre 8-minute charismatic worship ceremony scene, a penalty I believe that spectator did not deserve. The supposedly main plot of the former convict women who composed a gang of oil theft and smuggling is very badly connected with the elections, in which one of the characters is a candidate of fictional Party of the Arrested People, with a platform with many issues directed toward the rights of the poor people. Only when one hour and a half length is over, the references to Bolsonaro's Brazil appear, including explicit mentions to him, in the mouths and T-shirts of his (in the film, always white) supporters. In the radio, it is mentioned (with bad sound) that the regime opposed "criminals and subversives", like in military dictatorship. Policemen use Bolsonaro's slogan as theirs; nothing is subtle in the movie. We also see that the women gang becomes increasingly partner of motorcycle delivery men, who suffer with job insecurity of (also a core issue in nowadays world). Uninteresting naturalistic long dialogues (on lesbian sexuality, life in jail, dysfunctional family background, and so forth), emulating a documentary, occupy a long fraction of the movie throughout it, contributing for its tediousness. To resume, this movie with more than 2 hours and a half length would work better if it were not only shorter, but actually a short film. There is too much time for too little to show. The long dialogues of women who look like belonging to the poor people do not make the film be truer or deeper.
Black Adam (2022)
Among the best superhero movies, despite unfair bad ratings
I am very positively surprised by Black Adam, particularly considering the unfair bad ratings. It is among the best superhero movies, amusing and colorful, with well balanced dark humor, drama and adventure. The very beginning was already very promising, with a visually nice Kahndaq (exciting Egypt-like atmosphere), and the film kept that high level until the end. The story is simple and unpretensious, fitting typically the superhero genre, but is not trivial. Characters are quite interesting, both in their development and in their visual. Only Atom Smasher and Cyclone are in a much lower level, but not enough to damage general outcome. I did like Black Adam, Dr. Fate, Hawkman, Adrianna Tomaz, Amon, Hurut, Ishmael, and Sabbac! It is a movie in which producers had full control of what they were doing all the time.
Ophelia (2018)
Too little of Shakespeare, and more invention than it was desirable
The film is visually nice and has good performances. However, I did not like the script. I considered a very promising idea to fullfill the blanks on the story of Ophelia, who appears so little in Shakespeare's Hamlet. However, the movie does much more than it. The inserted parts not only are predictably much less impacting and more generic than the lines wrtitten by the bard, but also made the whole story loses a significant part of its strength. While Claudius and the queen are still interesting characters, Hamlet was turned into an almost minor character, what is bizarre. It is too much the present wave of mainstream cinema (with its core concerns and formulae) and relatively little of Shakespeare.