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An error has ocurred. Please try againAdd Brazilian short film "Os três porquinhos". http://portacurtas.org.br/filme/?name=os_tres_porquinhos
See also my list of movies that combine animation and live action: https://www.imdb.com/list/ls046637447/
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
Reviews
Angela (2023)
Not a biopic, but an underrrated movie on misogyny in Brazil
A good and extremely underrated film on a paramount misogynistic crime (and sexist Judicial system) in Brazil. All actors have good performances (Ísis Valverde is particularly successful in the leading role), cinematography is beautiful, direction is very competent, characters are deeply developped, and there are quite good dialogues. It is almost a sexploitation movie, considering the high number of sex scenes involving Ísis Valverde, Gabriel Braga Nunes, Bianca Bin... Several people criticized the film for not showing many important (and polemical) events of her life, being therefore an incomplete biographic movie. I agree with the diagnisis that it is not enough for a biopic (what the title may suggest), and a serious absence was not including the buzarre murder of the housekeeper after her separation and before she moved from Belo Horizonte to Rio de Janeiro. However, as a movie on violent misogyny and the structural sexism, which had the murder of Ângela Diniz as a turning point case, it succeeds.
Constantine: City of Demons (2018)
A great Constantine animated movie
Constantine: City of Demons is a violent, gory and very atmospheric horror and adventure fantasy adult animated film. The movie is full of interesting characters (mostly demons) besides John Constantine. I loved particularly Nightmare Nurse and Angela! There is some dark humor, but also a lot of pure good-quality horror, with several remarkable situations, places and creatures. It is an animated DC Comics movie that engages spectator throughout the story, until the bright ending. The portrayal of Los Angeles was very innovative. Good script and nice animation constitute a formidable combination.
Damsel (2024)
Not bad but formulaic
This is Netflix medieval fantasy movie
Is certainly not bad, but deffinitely is not great either. If it were more into horror and less into adventure perhaps it would engage
little more. It is not very convincing and atmospheric, despite the interesting general plot and some nice elements such as the light worms. Perhaps what was actually needed for a bettter outcome was an authorial director with a touch of magic such as Terry Gilliam or Jean-Pierre Jeunet or Guillermo del Toro, instead of Netflix producers making a film according their formula. The excess of clichés and the always obvious dialogues annoy.
Jojo Rabbit (2019)
Becomes better in the end, but still overrated and problematic
Making a film on Nazism by combining dark humor with cute magical realism is a seriously bad idea. It is stupid, disrespectful, full of jokes of bad taste, politically shallow, simplistic... It would have been a complete disaster if it had not improved a lot in the last part, when most of that camp atmsphere has been abandoned, and the reletationship between Jojo and Elsa became the core of the story. As a matter of fact, that girl, played by Thomasin McKenzie, is the best of the movie. Anyway, despite the ascending curve, the film is overrated, and should be seen as one more cinema production that contributes for a widespread misunderstanding of what fascism is about and how to notice when it rises again elsewhere.
Infancia clandestina (2011)
Argentine dirty war in the eyes of a boy
A film on Argentine military dictatorship and dirty war of fascists against Montonero guerrilla is always welcome, as it is a quite important even in the history of Latin America and in the dire days of reactionary oppession against democracy and human rights. Making a film on a military dictatorship focusing the life of a child is also a script decision that often works very well, as I may mention Brazilian "O ano em que meus pais saíram de férias" ("The Year My Parents Went on Vacation"), Argentine "Kamchatka", and Nicaraguan "Princesas rojas" ("Red Princesses"). This Argentine film is not bad and it is visually appealing: cinematography, art direction, the usage of drawn animation... However (and unfortunately), it is too tepid, excessively long and sluggish, and lacks a tighter script. Spectator never gets involved, the movie simply does not make specttor feels or velieves in what is portrayed on the screen.
Le dernier métro (1980)
The best film by Truffaut?!
Truffaut was a very skilled filmmaker and, in this movie with a story held in Régime de Vichy, his direction is no less than perfect. It is possibly my favorite film by him. Cinematography, palette, the documentary-like insertions, the script and the pace, the careful development of characters, the way he directed the actors, he had a full control of everything. The story surprises continuously in its consistent plot twists, characters are sophisticated and multilayered, and actors do a great job. I loved particularly the dialogues and interactions between always striking Catherine Deneuve and Heinz Bennet. So strong, so deep, so convincing. It is also among the best films on Nazism, highlighting how it impacted occupied France, in itd authoritstianism and anti-Jewish coercion.
Lost in Translation (2003)
Amazing Scarlett Johansson and Bill Murray, complex multilayered relationship
Two very solitary characters, both with marriage in crisis, bored in Japan and listening people talking all the time a language they do not know. As the woman mentioned either directly ot indirectly, the man is in a mildlife crisis, while she is in a crisis of confidence typical of the youth at its twenties. As they met in the hotel, a strong, acceleratedly intimate relationship, with several complex layers, emerged. The film is delicate and remarkable, and not only because of the good awarded script. It would not have been possible without a competent direction by Sofia Coppola and, I must highlight it, without actors such as Scarlett Johansson and Bill Burray, skilled enough to be able to be so precise in each facial expression of various feelings. Both had unforgettable performances.
The War Wagon (1967)
Magnificent five, but just two giants
It is a nice Western starred by two of the greatest Hillywood icons, Kirk Douglas and John Wayne. It reminds more acclaimed Magnificent Seven, but I considered It better. Here, "five magnificent" are assembled to rob a heavily armed stagecoach. Two of them (you know who) are, however, much more magnificent than the others. That is why the film also reninds another movie by John Sturges: Last Train from Gun Hill. Wayne's Taw and Douglas's Lomax have an unstable relationship in the border between skilled partners and bitter rivals, somewhat like Douglas's Morgan and Anthony Quinn's Belden in aforementioned 1959 Western. The parallel is so striking that the titles both movies received in Brazilian Portuguese were similar: Giants Fight and Titans Duel, respectively.
The Pale Blue Eye (2022)
Visually nice but with no emotion
Not a bad film, but clearly a Netflix production full of flaws which undermine its outcome. While art direction is good, fitting well the intended Gothic atmosphere, other traits do not. I never felt as if those events were happening, the direction was unable to transmit any emotion, nothing compatible with what one expects from a thriller. It is particularly dismal, considering the good cast assembled. Pace is sluggish and script seems to have lapses of unnecessary insertions which lead to nowhere. To resume, the story of investigation partnership between Augustus Landor and Edgar Allan Poe could have worked quite well, and the general morbid plot is interesting (and so is the ending), but the film was not balanced, deep and consistent enough.
Os Condenados (1975)
Dysfunctional romantic triangle in an irregular but better film than other adaptations from Modernist novels
The first adaptation ever to cinema of a novel by Modernist writer Oswald de Andrade, and also an adaptation of his very first novel. The beginning of the movie is quite weird, but it becomes better as it advances, although keeping some drawbacks: theater-like overacting does not fit well, and the script is sometimes too hermetic. However, the film is visually charming, with good art direction, and the dramatic romantic triangle is interesting: the prostitute loves a violent pimp whereas a shy rower loves her, never getting a real chance. The chemistry between Claudio Marzo and Isabel Ribeiro is quite good, and Roberto Bataglin, despite not as skilled, has an appropriate presence as the abusive ruffian. To resume, the film has flaws but is interesting, and I consider it much better (and less problematic) than other adaptations of Modernist novels, such as O homem do pau-brasil (also based in Oswald de Andrade) and celebrated Mucunaíma, both by Joaquim Pedro de Andrade.
Os Amigos (2013)
Many nice moments, but confusing script
The film is a mix of the stories of two friendships (one between kids and another between mature adult man and woman) and a romantic comedy (considering the general structure of the film), with the life of Marco Ricca's character in the core: he is lost and trying to find his way, just like Ulysses (it was ridiculously bizarre that he imvented to the children that Odysseus was a nickname given by Ulysses's close friends!). The metaphors with the Odissey and Hercules and others are numerous, but either very generic or not understandable (at least by me). Indeed, many interesting things happen in the film (including the architecture argument, the scene in the toy store, and the special participation of Alice Braga and Caio Blat), but their connection and the reason to be in the script were not well built or clearly shown. Dialogues also had ups and downs, being too much artificial sometimes. Dira Paes, one of the best actresses from Brazil (Ricca is also one of the best actors), does not have a role where she can show her skills mostly of the time. In the last part, however, she is subtle but striking in portraying the feelings her character had and finally became explicit.
Canção de Baal (2007)
Grimy chaos
I loved to listen the interrogation of Bertolt Brecht by the Fascist McCarthyist "House Committee on Un-American Activities". However, I liked nothing else in this grimy and weird musical, based or inspired in Brecht's play Baal, with an obvious Brazilian element. It is quite poor as cinema, not being a good adaptation. It is still pure theatre, and not necessarily a good one. Its chaotic script makes it hard for spectator to keep his/her attention. Boring and hardly justifiable. Probably just a failed aesthetic experiment. Indeed, in the very beginning a character says that a story that is understood is a bad one. Well, I seriously disagree on that, and also on what Helena Ignez considered that was a good idea for a feature movie.
Macario (1960)
Mexican fantasy between God and the Devil, turkey and death
It is not surprising that this film from 1960 became one of the greatest classics of Mexican cinema, a paramount production from its Golden Age. Very innovative, it is a fantasy drama which addresses hunger, social inequalities, the Catholic Church and it is inquisition. The hungry Macario will make decisions that will be decisive, concerning a turkey, the Devil, God and Death. By the way, I cannot help but mention a curious dark detail: every time Macario says he will not eat anything and prefers to starve than to eat a small portion, his children laugh happily because they will have a little more food. That was funny but also harsh!
O Uivo da Gaita (2013)
Mariana Ximenes kisses Leandra Leal; that is the only remarkable element in the movie
It would be a love triangle story, if there were a story. It is a sensorial quasi-silent (the first spoken line happens with 15 minutes of film) tediously sluggish ASMR arthouse lesbian nearly sexploitation movie in beautiful Rio de Janeiro. In the very beginning, after one of the numerous long scenes where a beautiful place with nature is on the screen with no character appearing but the sound of the wind or of the sea, two of the best Brazilian actresses ever, Mariana Ximenes and Leandra Leal, kiss each other and their characters have sex on the beach. In the following scene, Mariana Ximenes eats sushi with the man while the dishes melt. Eventually, all the three play cards; afterwards they blow and touch each other, with a bizarre song. When the movie lasted half an hour, there was the metaphor of the three glasses containing liquids with the very colours of their clothes, and they mixed and drank all the tree, symbolizing they had a fluid sexual affair together. That was the only thing to be understood in the whole movie, if I am not wrong, besides the ending. Then, Mariana Ximenes's character clearly makes her decision, in another symbolic sequence, and then have another love scene on the beach. The movie is supposed to be immersive, but it is not. Beautiful cinematography and the two great actresses do not save it from failure. Showing for a long time a white square, or using bizarre dissonant song and the sound of a table tennis ball also do not make the film more intelligent or sophisticated.
Nossos Mortos Tem Voz (2018)
Very sad and important documentary on the murders of poor people by criminal policemen in Baixada Fluminense, Rio de Janeiro
This is an extremely sad and also quite important short documentary on outrageous murders of poor (and nostly black) boys by criminal policemen in Baixada Fluminense, in Rio de Janeiro metropolitan area. There are several testimonies by mothers and sisters of that assassinated youth, which are very strong. It is simply impossible not to be moved and sickened by the harsh revolting mentioned cases. A scholar from Rio de Janeiro Federal Rural University also explains the changes death squads structure that happened in recent decades, and also the relation it has with militia mob and politicians.
The Bond (1918)
Propaganda film by Chaplin in World War I
I never knew that Chaplin made at his own expense a propaganda film for helping the Liberty Loan Committee for selling bonds in the World War I, against the German Empire. After three sketches about the bonds of friendship, love and marriage (among which I only liked the second one, particularly the gags with the moon and the cupid), the tramp meets both Uncle Sam and German Emperor Wilhelm II in a fourth and last segment. The two-reel film is aesthetically different (quite simple black set) from other short films by Chaplin, and also much less funny than almost all of them. It works, however, as a historical curiousity.
Anatomie d'une chute (2023)
One of the best court movies ever!
This French production, a slow drama thriller, is one of the best court movies ever made. The script is no less than extraordinary, as it makes spectator continuously change her/his suspicion about if it was an accident or if she did murder her husband. Attorneys representing both sides were brilliant in their strategies and arguments, equally convincing. The clues that are gradually added also contribute for spectator's doubt. Interestingly, that is the very case of the boy too, who additionally had symbolic trait of being blind. The fact that she is a famous writer who uses to write about her own life, but in a heightened reality mixing reality and fiction, is a fantastic element too: now there is a crime, and how to know which part of what she says is reality and which is fiction? The contrasting interpretations about what may have happened, given the few known elements, not only make the movie so nice as an investigation of a possible crime, but also unveils a lot how Justice actually works (and it does it more than most good court films do). Characters are complex, deep, humanly fallible, contradictory and not neutral. The couple's argument was a brilliant dialogue and great example of it; information that eventually arise about the background of that violent disagreement makes it even more interesting. Acting is very good, as all actors were able to portray that subtle complexity of their characters very well. Anyway, it is impossible not to praise particularly the boy Milo Machado-Graner's performance. Seeing this movie win the academy awards for the best film would be a serious suprise, but a very good one.
The Green Knight (2021)
More merits or more problems?
There are some very well done scenes, nice sets, good acting (I would like to have seen King Arthur and Guinevere more, as both actors had excellent performances in The Borgias and Game of Thrones, respectively). However, the whole film is confusing, messy. Adapting the tale of Sir Gawain and the Green Knight is very interesting, and indeed the events which are mentioned in the medieval poem are present in the script, but the problem is that there are elements included which did not fit well. Various characters seem too stupid, making unreasonable unconvincing actions, such as Gawain himself, the road thieves, and so forth. Outcome is not only not clear but also unconvincing. Witchcraft is particularly confusing, with the intentions and authorship of magicians being too blurred for spectators. If that first main witch is Morgan le Fey, much more context would be desirable. Throughout the film, director chose weirdness to provoke sensations in the public, but I do not think it is a good substitute for a more elegant and consistent script. Despite composed only by skilled actors, casting is also strange, anyway, for an Athurian setting. To resume, although far from a disaster and with some inspired scenes, the film is mostly forgettable and has more problems than I expected.
Poor Things (2023)
With the mark of Yorgos Lanthimos
Yorgos Lanthimos never avoids either taboos or innovating. Here, multiple serious taboos connect to each other in a film that crosses multiples issues (what is an individual, moral limits for science, mysoginy, attitudes towards the problems of the world?) and also multiple time references (it seems a period movie but with retrofuturistic technology), mixing several genres, such as dark comedy, sci-fi, fantastic realism, comedy of manners, surrealism, and disconfortable drama elements. Painted sets, shooting in wide angle lens and Dafoe's makeup make the film visually impressive. Acting is all excellent, but the way Emma Stone changes gradually her character as the movie advances is extraordinary. To resume, it is a very nice film, with briliant moments, but it is also perhaps too long, loosing its strength a little in the second half, and recovering it only in the end.
O Descobrimento do Brasil (1936)
Humberto Mauro's film for Ministry of Educationnporttaying the oficial view on the arrival of the Portuguese to Brazil
Released three years after Ganga Bruta, this Discovery of Brazil is certainly not as sophisticated as previous movie by Humberto Mauro, who, anyway, still must be praised by his pioneer work. Besides him, other giants from Brazilian cultural and intellectual circles cooperated in the film. Nobody less than Heitor Villa-Lobos composed the obviously excellent soudtrack. The father of Brazilian radio, Roquette Pinto, was a consultant, together with Afonso Taunay and Bernardino José de Souza. The movie is very didactical, as it was a project by the Ministry of Education for educational reasons. Off course the film was biased by the historical views of those times, very acritical ones. The contact between Portuguese and native people is portrayed as very kind, calm and well intentioned in both sides, in spite of minor mutual strangeness. In the beginning, there is a bizarre inclusion of two kids in Pedro Álvares Cabral's ship, what I cannot believe that may have happened. Technically, the film has a very good production, with a nice portrayal of the ships from inside and outside, and convincing enough costume design and navigation instruments. While there are some nice sail scenes, I considered most of the film too static, almost as if the characters were motionless paintings (no, it was not similar to Barry Lyndon, far from it, if you are thinking about it). It is curious that, despite it be a spoken movie, with some dialogues either in Portuguese or in Tupy, there are also many moments in which the characters talk but the sound is just the musical score, as if it were a silent film. A great part of the old movie portrays the trip from Portugal to America, also showing a map where the ship singals the crossed path. What happened along that trip follows closely the testimonies by Pero Vaz de Caminha, the man in the crew who was responsible for reporting the events. To resume, the film is not a gem, but it is historically important and still has some merits despite dated.
O Signo do Caos (2005)
It is a chaotic anti-film, and it is not good
Cinematography is skilled and the vintage filter to emulate Orson Welles' times is nice. The text is a mockery on Brazilian cinema industry, its niceties and conventional wisdom. However, intentional overacting, and intencional bad dubbing are silly. I know Sganzerla intended to make an "anti-film", openly chaotic, but outcome is bad, despite the film being very overrated. Time goes by and it never becomes either linear or engaging. The looping of the same scenes in a disordered way was neither smart not funny, it was just a tedious waste of time. To resume, it is a quite weird film, an experimental movie that did not actually work.
Apps (2021)
Chilean black mirror gore in four or five segments
Chilean "black mirror" gore, divided in segments with variable degree of fantasy. The second segment is the worst, quite confusing. The other three share the extreme violence and supernatural elements. The fourth segment, OnFire, with a lot of dark humour (differently from the first and third segments, which are closer to a thriller label), a political background and short animated parts, besides the supernatural fire, is by far the best. The boy's father is a funny scoundrel and his grandmother is a bizarre reactionary fan of Pinochet. The four segments are interwined with small scenes with the same character, a middle or upper class woman at home, which lead to a not very well developped final one in the very end.
Un prophète (2009)
Great French prison and crime film
Very good film on French criminal underworld, the racial delicate relations between Arabs and Corsicans in prison, and, above all, the hard mediations an Arabian prisoner is pushed to take in order to survive in such conditions. Malik El Djebena, the main character, is very well written, complex and deep, increasingly involved in schemes but in some moments appearing as a naive boy who in another conditions since childhood could have had another life. Tahar Rahim had a great performance in that leading role and must be highlighted among all the good acting in the film. Another great character is the big Corsican boss César Luciani, with powers which seem to reach everywhere. To resume this is a must-see crime and prison movie from France, by the always good director (at least in my experience, it is the 3rd movie directed by him I have watched so far) Jacques Audiard.
Volga - Volga (1938)
Claimed to be the favorite film of Stalin, what is surprising
Selfish uncommitted bureaucrat Ivan Ivanovich Byvalov (who looks like Mario Bros!) is the most interesting element in this very light-hearted slaptstick musical comedy by Grigori Aleksandrov, who also directed 11 years before October: Ten Days that Shocked the World. Volga-Volga has some curious background stories, such as the title coming from a jokingly suggestion by Charlie Chaplin when he and Aleksandrov were rowing together in the United States and the British filmmaker heard those words in the lyrics of a folk song sang by the Soviet. Another very curious story is that Volga-Volga is claimed to be the favorite movie by Joseph Stalin, what is particularly surprising, as there are many funny gags about things that did not work in URSS! The raft soon got bogged down, all local boats were broken and still being repaired, the mare for transportation lacked horshoes, the balalaikas crafted in the factory had the worst sound quality ever heard, and the telephone calls were absolutely unintelligible (additionally, the trip over the river eventually happens in a steamboat which is said that was gifted 30 years before by the United States, and all its only problem were originated by bad maintanance!). Besides all that, Byvalov was the archetypical ambitious bureaucrat who had no concern about the quality of the works he supervised, and his only interest was to reach the most important office, and closest to Moscow, possible. It is mentioned in the beginning of the film that Byvalov moved to another institution to work, getting closer and closer to Moscow, 20 times just in the last five years! He was only two weeks managing the balalaika craft factory but was already waiting for a call to a new job! Did Stalin identify himself with the character or was his vanity what made him like that his name was given to the steamboat of the trip from the Great Volga habour to Moscow?! As a matter of fact, the silly song in the very last minute of the movie says bureaucrats like Byvalov were rare an represented "the old years", in a laughable attempt to score some brownie points from the regime... Besides Byvalov's background and the mockery on production dysfunctionalities, another interesting element in the beginning of the movie is the brief change from romantic idealization to fierce anger between the couple who had opposite views on music: the man loved classic music and rhe woman liked folk one. That romantic comedy element endures throughout the film, until the predictable happy end. Before the steamboat trip, there is an eight-minute collective artistic presentation of the whole village to a frightened Byvalov that is awesome, very amusing and well done, perhaps onde of the nicest moments of the film, second only to the initial appearance of characters Byvalov and his sycophant assistant Zoya Ivanovna. Eventually, the story continues with a troublesome trip, musical team duels, a lot of rough-and-tumble, and misunderstandings. Overall, the film has ups and downs, some tepid moments and silly overacting, but also quite funny cartoonish musical slapstick and smart gags on Soviet life and society. While not a masterpiece from Soviet cinema, it is underrated and worth watching.
BigBug (2022)
Jeunet's dystopic sci-fi
Clearly underrated. Off course it is far from a masterpiece by Jean-Pierre Jeunet, do not expect a new Amélie Poulain. Not everything works, as there are indeed some tepid or too camp and not always funny moments. In its issues and style, it is closer to Terry Gilliam's satirical dystopian trilogy (known as "Orwellian triptych", composed with Brazil, 12 Monkeys, and The Zero Theorem) and to Tim Burton's Mars Attacks!, but not in the same level. Anyway, the film is an amusing sci-fi dystopic light-hearted comedy, xonnected to the AI dissemination, with quite good moments. All the robots, either the domestic ones or the Robocop-like Yonix series, are lovely and funny. Characters (either human or robotic) are nice and interact well. The general plot is very nice, and the bizarre dark humor situations and bright odd visual make the film not one more formulaic characterless generic flick as the hundreds Hollywoord and streaming comapanies (partocularly the very Netflix!) release continuously.