luiza do brasil's Reviews

Eichmann (2007)

6/10

Not nearly as good as it could have been!

20 October 2007

This version of EICHMANN (as a biography, biographical, or as any of the several excellent documentaries about his trails) apparently has a dream cast and technical crew to make the "definite" EICHMANN "fictionalized" film. Was Thomas Kretschmann born to play the perfect Nazi of our nightmares and dreams, or what?

Well, here his "Naziness",in total contrast to his brief but impactive appearance in Polanski's THE PIANIST, and in DER UNTERGANG (as Hitler's brother-in-law)is a waste. It's a waste because the script of the film is horrible. His stereotype Nazi features would have been better spent in the USA 1960's sitcom HOGAN'S HEROES.

I live in Brazil and have spent a good part of my life here, in Argentina and in Germany, though I'm American and grew up in the 60s when WWII was still as fresh as the collapse of the USSR is now. So, any well-rounded movie fan from this area (or news junkie) would have as a compulsory experience, followed on radio and TV (no cable back then) the before & post-war antics of these Eichamnns, Klaus Barbies and their cohorts.

Now, I sat through a 5 or 6 hour film in Berlin in 1998 or 1999 (or was it two 4 hour sittings)of the COMPLETE Eichmann trial in Israel. The documentary was a "big release" as Documentaries go. It was playing in several art cinemas in Berlin, one near the Memorial Church, another in Kreuzberg,and in the Oranienburgerstrasse "art film multiplex" where I saw it.

If anyone knows which film I'm talking about, please submit as anew title or e-mail me. It is not any of the options this site gives: (Displaying 8 Results) 1.The Man Who Captured Eichmann (1996) (TV) 2."Adolf Eichmann 2003) (TV) aka I Met Adolf Eichmann" - UK 3."L'Hidato Shel Adolf Eichmann" (1994) 4.Operation Eichmann (1961) 5. Eichmann Trial (1961) (TV) 6. "Eichmann and the Third Reich" (1961) 7. The Trial of Adolf Eichmann(1997) (TV) 8. Witnesses to the Holocaust-the Trial of Adolf Eichmann(1987)(TV).

I thought it was Number 7 (the 1997 TV version), but it's too short and has a moderator, which the long film I saw lacked). Anyway, with that film as DEFINITE, REAL and irrefutable genuine human emotion, tragedies, and wrecked lives revealed, WHY make a feature film?

Well, as the list of seven above show, there was no shortage of "Eichmann films" when this film was shot, and released. And it has been released. In the Rio Festival, EICHMANN had 4 screenings in the main large cinemas, and was held over for a third week of "Last Chance For the Best of Rio" which ended last week. And the copy had burned subtitles in French, with electronic Portuguese subtitles below the screen. So, it has been somewhat shown around the world.

As this looks like a probable straight to DVD release. I had never even read about the filming of this feature, which also (mis) casted the German (but dark and with a star power name) Franka Potente as the Israeli's prosecutor's wife in one of the boring and pointless subplots. Potente, like everyone else including Eichmann, only spoke English, though she and her Prosecutor husband had met in France, and supposedly spoke French with each other.

But not a word of German, Yiddish, French or Hebrew is heard.

FINE. English is the international language. But this being a criminal court case movie, with loads of depositions, at least one of the victims could have spoken in the 4 major languages related to the case. Just for effect, like Arien Brody's attempts at German in the PIANIST, for some authenticity, with English, though not one of the four languages related to the case, as the main language, but not as-the language spoken 100% of the time!

Anyway, there is a "real film" with authentic testimony from the actual victims in their mother tongues, plus a couple of hours in Austrian-accented German deposition Eichmann gave. That documentary was basically in Hebrew, but both sides staunchly used their national identity languages. Eichmann spoke only German, and the Israeli prosecutor, judges, and victims did too - but chose to ask in Hebrew (so the crowd could understand apparently). Thus the translations to French, English, Russian & Yiddish, which I'm counting here as German added to an already long documentary, in black & white, with no visual power film of it all, two sets of subtitles running all the time. It was difficult to watch, but authentic, and a real treasure, something this EICHMANN is not.

Again, the hours of the real trial is what you should look for. The Israeli Prosecutor was not a gorgeous and elegant leading man, nor was Eichmann nearly as attractive and "Nazi-like" (as defined by the Hollywood stereotype).

This film gives NO new insight on Eichmann. The screenplay is shamefully bad, and the scenery is SO not-Israel. It screams MALTA (where it was shot),though NO southern Mediterranean island would have given us something that looks like Tel Aviv. These islands are ancient, and Tel Aviv started to become a city in the late 1920s and 30s (not in the 15th century).

My suggestion: if you are die-hard Thomas Kretschmann and Franka Potente fans, go. But just to see them. You won't find any substance or anything new in this movie - such a terrible waste of time, money, story, and great (and beautiful) German actors!

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Le voyage de Louisa (2005 TV Movie)

7/10

Your typical "North African illegal immigration to Europe" story

29 March 2006

This French TV movie is yet another typical North African "illegal immigration to Europe story." Moreover, it's of the the tired Algerian/Tunisian migration saga to their mecca, France.

The difference between this one and the other ones is the sick cute kid, Louisa, in this case. But apart from her character, all the overworked personalities from the genre are in the film: the conniving thief offering expert advice to the "poor refugees", the corrupt officials, the heartless boat runner, Italian farmers exploiting cheap immigrant labor. In short, nothing you haven't seen before, if you're the sort of viewer attracted to this film in the first place.

For better takes on the genre, I recommend, just of the top of my head: "Loin", and "Exils" (not really the same, but with similar characters). At least this film offers some interesting views of Tunisia and its capital, Sicily and the Italian countryside as consolation.

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Le frère Irlandais (1999 TV Movie)

10/10

Family drama within a stunning portrait of country life on both sides of the channel

14 January 2006

This is a wonderful 2 part mini series, or a nearly 3 hour TV film when shown together. Eurochannel, a major cable TV channel to Canada, and Latin America has been showing it for some time now, and still running it this year. I just checked transmission dates in their website. It's definitely worth seeing, particularly if you like family dramas, Irish themes (dubbed into French), the wonderful countrysides of Normandy and Ireland on either side of the "English Channel" ("Las Manche if you're French), and particularly if you like horse stories.

The story begins in Ireland where the romantic & temperamental Eric Conelly (Bruno Slagmulder) is in constant conflict with brother Sean (Gregg Fitzgerald). Their mother's untimely death combined with a failed fratricide between them makes Eric run away to France, where he was actually born. Once there, Eric loses his memory after falling from a horse. Jean Langlois (Victor Lanoux), a champion horse breeder helps him with the help of wife Louise (Catherine Salviat).

Constantly tormented by memory flashes, Eric attempts to establish a relationship with the cute chick in the area, Delphine (Lisa Martino), a neighbor & enemy of the Langlois family. She helps Eric, not only in recomposing his past but encourages him to become a jockey, something Eric shows an uncanny knack for. His talent is noticed by all the horse "aficionados" in this part of Normandy where he was born, where the 3 main adult characters hide secrets from the past.

Meanwhile, in Ireland, secrets from the past are also under the lid. Eric's brother, uncle-priest, and ailing father go on with their lives. But the key detail about the brothers' mother's death is withheld by the brothers' father. Yes, it's a "long-distance soap opera" with secrets to be revealed, where everything which needs falling into place does in due time. The contrasts and the similarities between the 2 brothers, the two locations, the two feuding families, and the two main horses competing for a big title all interlace nicely.

I recommend it highly, and can't understand why a group of users gave "1" ratings, which no film deserves, much less this top of the line European co production. I suspect it may have been a group of English speakers objecting to the Irish characters dubbed into French. But I think that had to be done to make the whole series spoken in one language only, and most of the locations and characters are in fact French. But I'm sure there's a version all dubbed in Irish accented English. But it's not the version the "Eurochannel" has been showing. Don't let that language detail deter you. It's worth a watch.

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Magic Mirror (2005)

8/10

Archtypical De Oliveira Drama full of familiar themes and style

25 October 2005

Warning: Spoilers

The latest film by the world's oldest world-class director Manoel De Oliveira is heaven-sent for fans of the director. Addressing his favorite themes: religion, the decadent Portuguese aristocracy, and using his heavily theatrical and hermetic filming style with very Baroque sets, he places once again his latest muse Leonor De Silveira, and his grandson Ricardo Trêpa in the lead roles. They are the protagonists of this story, based on the novel "A Alma dos Ricos" (The Soul of the Rich), by Agustina Bessa-Luís.

One can't help but wonder if people like these characters still existed or have existed, and lived in this style anytime during the last 35 years in Portugal or indeed anywhere. De Oliveira's set-in-Portugal films of the 2000's all have similar upper bourgeoisie characters living in a style all but erased from the map in the past 35 years. Curiously, they are dressed in modern clothes, but live in palatial homes, or palaces themselves with the most austere, and over the top decoration seen in the interior settings of any modern films. The characters are also served by more servants than the Queen of England, another possible anachronism.

It is in this over the top, surreal setting in modern Portugal that the aristocratic Alfreda (Leonor Silveira) experiences a Biblical fixation and awaits a second annunciation of the Virgin Mary. She believes that the families of Mary and of Jesus also belonged to the aristocracy of their times.

It seems she's determined to reconcile her lofty position in the socio-economic domain with her religious beliefs; to compare her family's position to the Virgin Mary's supposed privileged family position, as she confuses her devotion to the Virgin with her own identification of the Virgin, or being a new appearance of the Holy Mother herself.

She is childless with her biological clock in its last years of ticking, and married to an older, idly rich husband. He seemingly couldn't father a child even with all the Viagra and fertility drugs he could buy. All this suggests Alfreda may even be waiting for an annunciation of an immaculate conception.

In her totally unbelievable wait for the Virgin, she does get a holy visit of sorts from a mysterious Spanish nun (Marisa Paredes). Meanwhile she also tries to find support in her husband (who looks like her father) played by another frequent De Oliveira collaborator. He, in some ways, also awaits redemption, though it seems he's actually more removed from reality than his younger wife.

Alfreda is fearfully sick, from a never mentioned sickness. She's also very attached to an English professor of theology (played by another De Oliveira regular, the French actor Michel Piccoli), who dies early on in the film. He and a local priest keep her busy with endless (and boring) discussions about the Virgin Mary.

But her definite buddy has yet to appear at this point. A couple of good-for-nothings, introduced in the first part of the film while imprisoned, are released from jail. One of them has an uncle close to Alfreda's family, and gets his nephew a job in Alfreda's estate. The nephew quickly gains Alfreda's confidence and affection, and becomes only too aware of the financial opportunities in exploiting Alfreda's obsession to see the Virgin.

This special servant/friend (played by Ricardo Trêpa) is hired as Alfreda's secretary or "gentlemen in waiting", as it seems his job description is simply following Alfreda around, keeping her busy with their idle chatting, and participating in an undeclared relationship, underscored by obvious and mutual sexual interest. Yes, the Virgin Mary wannabe parades around her not-bad body in a sexy bathing suit during her frequent swims in her pool and nearby bodies of water.

The nephew quickly gains Alfreda's confidence and affection. Pushed by the other jailbird, the real brain of the scheme, they proceed to exploit the aristocratic couple's fortune. They decide to stage the apparition of the Virgin Mary, hiring an actress and a dressmaker to recreate the Virgin.

I won't go on. But I will say that, unfortunately, the plot does not come off on screen as interestingly as what I have just described. After reading the above, I realized the plot was not remotely as interesting as it may sound. So, don't expect a lot of action, but rather a lot of futile dialog, serving De Oliveira to make a much simpler statement: the state of the Roman Catholic State in modern Portugal (in his vision) presenting extreme religious views from diametrically opposed segments of society (aristocrats and jailbirds).

To those familiar with the long duration of De Oliveira's films,the film is mercifully short (a mere 137 minutes), and is made more pleasant by the appearances of De Oliveira collaborators Leonor Silveira (Alfreda), Luís Miguel Cintra, Marisa Paredes, Ricardo Trepa (Alfreda's servant), Michel Piccoli (the English Theologian), Glória De Matos, Diogo Dória, and Brazilian Lima Duarte in his second appearance in a De Oliveira film, both times as a priest.

For those who can somehow appreciate DeOliveira's films in this late phase of his life, I recommend it and give it an 8. If you don't know De Oliveira's style, and dislike theatrical, dialog intensive films with severe claustrophobic sets, do yourself a favor, and skip this film completely.

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The Silence of the Sea (2004 TV Movie)

9/10

Wonderful remake of the 1947 Classic

9 January 2005

The story starts in November 1941 in Nazi occupied France. A pretty, young and orphaned girl (late teens to early 20s) lives with her paternal grandfather, her only relative, in a comfortable villa. Proud but reserved, she gives piano lessons with unusual zeal and passion. One day, her house is invaded by the occupying Germans, and her parents' suite becomes the home of the local German Commander.

However, this Nazi is a refined Francofile, a classical pianist and composer. He's also extremely handsome, and tries to make this embarrassing situation as acceptable as possible.

This film is a remake of one of the best movies made in post World War II Europe, with a few adaptations to the original script, based on the novel 'LE SILENCE DE LA MER', published underground around February of 1942.

With a French actor speaking slightly (but not caricature) German accented French, the German lieutenant character is quite believable. His Aryan looks certainly confirms his "authenticity" as the cultured (French-like) though disciplined (German-like) Nazi; an enemy a refined girl could possibly fall in love with.

The original novel was practically a sacred book in France during the 1942-45 period, and a powerful symbol of the French Resistance. The 1947 film, due to budget and mainly personal and political problems, was, in hindsight, not as believable and well filmed as this new version. That said, the 1947 will probably always remain the definite version.

But, nevertheless, this new made for TV movie is well worth seeing for its timeless anti-war, pro-humanity themes. The gorgeous cinematography, and excellent performances by perfectly casted actors make it a pleasant experience for the eyes and the mind, regardless of all else, including the inevitable comparisons to the 1947 film and the novel. It is now playing on the cable TV "Eurochannel" transmitted by Satellite and "DirecTV" in the Americas, and should not be missed!

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Beautiful City (2004)

10/10

Great Iranian movie for those sick of Iranian films

26 October 2004

The slow, endless Iranian art films, so omnipresent in film festivals since the 80s, are by now, an either love it or hate it proposition. I now fall into the hate it category, jaded and bored by their sheer numbers, similarity of themes, characters, boring landscapes, and slow pace.

However, I do still see a couple every year to confirm, or review my perception of them. Besides, one can't judge all Iranian art films in a certain light, though the art form does tend to make the viewer take those extreme positions. So, I saw this film (called "Beautiful City")here - the name of the juvenile detention center the main character comes from. I found it entertaining and fresh, though the drab scenery and sameness of themes, landscapes, and characters are there.

It's an interesting (and again, entertaining, not endless like most) look at parts of Iranian society not often shown. These include delinquent youth, drug dealers and their hoods, the very negotiable (economically and religiously) Islamic death penalty, and prostitution on various levels.

I wonder whether films like this are shown in Iran? Of course, the masses would never run to see this movie. And obviously, all these Iranian films are intended for foreign (mostly western viewing), particularly at festivals. But I wonder whether anybody can just show up at a cinema and see it, or is it shown at semi-private showings for a select audience. If it is, how can this distorted Islamic government continue?

Anyway, that's the most interesting point of the film. It shows (whether true or not) that the government in Iran is not that Islamic, not that intolerant, somewhat democratic. But the society, under those black clothes, and automatic "God is great" messages, is as corrupt as the world's most corrupt, and more purely capitalistic than the social democratic capitalism we have today.

In the film, everything, from death sentences to pardons, from marriages to an opportunity for a life-saving medical operation, not to mention drugs and people, can be bought and sold with Tomans (Iranian cash).

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The Calm (1976 TV Movie)

9/10

Dated, but still relevant

26 October 2004

An unjustly imprisoned man is released after serving 3 years, in Communist Poland of the mid 1970s. He only wants peace, and the most normal life imaginable: work, a wife, kids, and a simple home of his own. But above all, peace.

As he is introduced into the Socialist society of the time, he soon discovers peace is not an easy goal; perhaps not even attainable in that society. The film shows outdated lifestyles, and scenes which would be considered kitsch by today's standards. The whole scenario showing us the conflicts to attain peace is totally outdated.

However, it is a little known, controversial (in its time) film by a great deceased director - reason enough to see it. And the conflicts faced to achieve peace are all completely different to those faced now, in the new order. Some are obsolete; such as the strict controls on one's movements in Communist times, the puritan ideals of sex and marriage, the machismo and submission to it by all women shown, the excessive vodka drinking (literally until you drop) and smoking anywhere and everywhere.

But, the conflict between balancing one's relationship with the boss on one side, and colleagues on the other, is still basically the same, whether it's in the communist system or in the capitalist system. Still, I think it's much easier now to avoid the conflicts and achieve some peace, as long as you lower your expectations.

That's why many viewers may not understand the film, or they understand but find it's a waste of time to see all this which they already know or lived through, rehashed once again. It's a Kiezlowski film, yes. But you won't find anything new, unknown or unrevealed about Kiezlowski in it. It's not for everybody who might think it's for them.

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Conversaciones con mamá (2004)

10/10

The best mother-son relationship drama in years

23 October 2004

This Argentinian film, currently in the international film festival circuit, is not-to-be-missed. It stars the 80 something year old South American diva of theater and cinema, China Zorrilla and Eduardo Blanco (of the 2001 Oscar-nominated hit "Son of the Bride"). A truly poignant story, it is nevertheless delivered with lots of humor - with the best exchange of one-liners between mother and son I can remember, making the film light and thoroughly enjoyable. There is not one dull moment, nor is there a climax. It is uniformly entertaining, thought-provoking, and emotional throughout. None of the corniness one would expect (I did) about the subject matter ever surfaces. It is fresh, delightful, and uplifting. If this film is not a 10, then there are no tens. Enjoy it.

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Hollow City (2004)

10/10

Fine, unusual feature from a largely-ignored African country

20 October 2004

This film caught my attention at the recent Rio Film Festival just because it came from Angola, a country rarely seen in the movies. After the civil war ended, and news subsided about the terrible land mine situation in the country (both themes addressed in the film), this large oil-rich, and relatively Westernized African country seemed to disappear from the scene. In cinema, only some Angolan characters are frequent in Portuguese films. But we never see the country itself, except on TV here in Brazil due to extensive cultural, linguistic, and increasingly economic ties.

All that said, the film presents a poignant story about a boy molded by the civil war in his country. As he journey's through Luanda, the capital of Angola, we discover a city and people who are not very different from those in a similar-sized Latin American city. We find a very Westernized society, much more so than the native African ones in Johannesburg or Cape Town. People only speak Portuguese amongst themselves exclusively (no native tribal tongues), and their habits and values are as globalized as anywhere else - definitely much more than in the rest of Africa. The buildings, layout of the city, apartments, homes and lifestyle of several socio-economic classes seem more like the Eastern Europe we see in art films than Africa. At least in Luanda and in the large cities of Angola.

Through the different characters and locations in the country's capital, the director gives us excellent insight to life in Angola's capital. Yes, from her point of view, but I understand she's held in great respect there, and known for fair portrayals of her country. For that alone, the film is an unusual treat and definitely worth seeing.

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The Whore and the Whale (2004)

9/10

How to make the most out of a co-production

20 October 2004

If you want a lesson on how to make the most out of a co-production between 2 countries which share (more or less) the same language, this film is a primer.

Expertly baptized with a catchy title (The Whore and the Whale), the film does achieve its aim of explaining the title (perhaps an overkill in that department), and deliver some good cinema for two hours with three locales, two time frames, interesting characters, with even some tango, Spanish civil war, and breast cancer education thrown in.

The dialogs are excellent. But their greatest value will get lost in subtitles. They highlight the contrasting language, particularly slang (period vulgar expressions and brothel language) between Continental and Argentinian Spanish. The relation between the characters and the two time periods, while seeming far fetched at first, end up rather nicely. The visuals of Patagonia, and the cinematography and art direction are all top notch. Highly recommended

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Peligrosa obsesión (2004)

10/10

Popular cinema Latin America needs!

12 October 2004

This film is exactly the type of film Latin America needs to bring its own mass audiences back to the movie theaters. The artsy films do well in film festivals, especially outside their own countries and Latin America itself. But the masses see the misery and suffering of these art films every day, and are not going to come back to national cinema until a good part of the films lose their artsy, long and boring reputation - a perception held even by the so called elite, and become the escapist entertainment most seek, without reading subtitles for 2 hours.

This film is a step in that direction. Definitely not a film to win awards, or critical praise, it is however a crowd pleaser. A glossy American style production (but with the countries' own stars and nuances), this thriller is a winner. Another exceptional quality is its "regional" appeal. Of the three main characters, two are Argentinian/Uruguayan, and one Brazilian. Some dialog in Portuguese is sprinkled in, and the action in the film takes place between Rio de Janeiro and Buenos Aires.

It's great seeing two neighboring potential world powers in many senses(Argentina and Brazil) working together and showing a bit of the best of what each has, instead of these countries' usual reliance on distant continents for their popular entertainment. Bravo!

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Ich kenn keinen - Allein unter Heteros (2003)

9/10

Universal story with local flavor

7 October 2003

This excellent documentary is a universal story; it depicts a situation which happens everywhere. However, the local flavor of the situation lived by these 4 or 5 gay men in southwestern Germany, and the reaction of their fellow villagers are unique, allowing us a rare peek of real life in (arguably) the richest, most picturesque, and most stereotypical area of "romantic" small villages in rural Germany.

As hard as this documentary tries to show prejudice and intolerance towards gays in this area of Germany, the attitude of these provincial "hillbillies" still rank favorably with liberal attitudes in world capitals outside Western Europe. The film is not only worthwhile for depicting social morals in Schwabia, but for foreign audiences, it is a lesson on how amazingly tolerant, and sophisticated the "backwaters" of Germany are.

Among other features, these "peasants" vacation together in Bangkok and Thai beaches, appearing totally at ease with the sex tourism surrounding them; and the most "macho and intolerant" older family men and cute grandmas discuss gay sex openly, though some of them are not in favor. These conversations, among retired Christian conservatives, are unthinkable in most of the world's major metropolis, speaking volumes for tolerance in rural Germany.

The film recently premiered in Rio's annual international film festival to packed houses, which interestingly also included apparently curious "cute grandmas" and mainstream senior citizens. It's a film which provokes rethinking of old ideas, and will do tons for human rights.

That is, if people see it. From the voting on this page, it looks like I'm still among a lucky few. The documentary looks like a special German TV program projected on screen only for a few markets. But, hopefully, the film and its message will find a very big audience in its TV transmissions in Germany and throughout Europe.

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Nathalie... (2003)

7/10

One would expect much more from a dream cast!

24 September 2003

The expectations created by the dream cast, and the plot, boasted by this new film are very high. However, NATHALIE doesn't meet any of them. That is, unless you wanted to check out Fanny Ardant and Emmanuelle Béart. Yes, they are still gorgeous, and marvelous actresses, even when working with mediocre material.

The film is now being premiered (even before released in its native France) in the 2nd Annual "French Film Festival" (a translation of the event's Portuguese name). As such, next to AMEN, it is the most anticipated premiere of this event presented by the Brazilian Alliance Française in eight cities nationwide, including Sao Paulo, Rio and Recife, during September and October.

Miss Béart is Nathalie, a beautiful prostitute hired by a suspicious wife (Ardant) who either wants to find out whether her husband (Depardieu) is cheating, or is a complicated, psychotic voyeur crazy to hear erotic stories about her husband's sex antics, whether true or not.

As I earlier said, the cast seemed extremely promising. And the plot seemed rather exotic, though not groundbreaking. The Parisian locales are fabulous, as are the fashions exhibited by the glamorous cast. But ultimately, the story (and the film) is boring. At the end, we leave the cinema knowing very little about the characters, are not greatly surprised by anything, and gain no new insight into our own lives.

I can understand why the film hasn't been released in France yet, and is being timidly shown in Toronto, and at events like this one. I can't imagine how even the best editor can do anything to fix it. A terrible disappointment. But Béart and Ardant confirm their status as two of the absolutely most glamorous stars of European and World Cinema.

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Noche en la terraza (2002)

8/10

Unfaithful on the roofs of Buenos Aires

28 June 2002

This film offers a particularly different take on cheating (on ones partner), and on an unlikely setting - going from roof to roof, or terrace to terrace.

The three main characters discover that they have all constructed their lives using the wrong approach, having done so either based on fantasies or dictates. Not one of them is actually fulfilling his or her own desires or needs.

To illustrate, Paula, the central figure of the triangle, is driven by the sudden appearance of a man who connects with her unlike anyone else. She discovers eroticism. This theme, present in different forms throughout the film, is alternately shown negatively and positively. Negatively, as a menace and source of tensions. Positively, eroticism - body contact- is shown as an important means in achieving true communication.

Besides being heavily dramatic, the film is rather claustrophobic, and suggests that its roots come from a staged play. Shown at the Miami Hispanic Film Festival in May 2001 in projected video format, this film is now being released in South America as a new (2002) film.

It may appear soon in selected festivals worldwide. For that reason, I thought it may help potential viewers make up their minds whether or not to see it. I was not disappointed. You may not be either.

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Days of Nietzsche in Turin (2001)

7/10

Only for fans of Nietzsche

22 April 2002

This is an unusual, rather radical film about a very radical philosopher. To follow the film, and to appreciate it, one must be very familiar with Nietzsche, late 19th century West European History, and its culture. (selected Wagner music is played throughout the film.)

The film has no real plot. It is a composite of well-known Nietzsche writings voiced over in Brazilian Portuguese to situations in Turin (Italy) and to location shots of Turin, where Nietzsche spent a period of about nine months late in his life. It was a time when Nietzsche was at the height of his delirium, so many of his writings confirming this mental state are especially included.

The director of this film spent a lot of time both in Brazil and in Turin preparing the film. He was helped by his wife - the distinguished professor of philosophy Rosa Dias, who obviously influenced the film greatly.

Between 1995 and 2000, the director shot images of Turin for the film. Unfortunately, these are generally of bad quality (even if for effect - they don't work), and are contemporary, showing Turin today. All the movement towards the sky to avoid cars and skyscrapers being seen are not effective either.

The film is for Nietzsche scholars only. Anyone else, even insomniacs, will surely sleep right through it. The director deserves credit for having taken the chance on such an unusual film, and such an "un Brazilian" theme for a Brazilian movie.

But, the film is ultimately (predestined by its theme) a big bore of a tribute, perhaps even to those interested in Nietzsche and his texts.

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Goebbels und Geduldig (2001)

9/10

Amusing Nazi Comedy!

10 November 2001

This is a beautifully photographed, well-written, and originally funny comedy, amidst the beautiful lansdcape in Bavaria (near Hitler´s retreat). Additionally, it features some of Germany´s best actresses, especially Eva Mattes as Magda Goebbels, and Katja Riemann as Eva Braun, in two wonderfully cast roles.

The film was among the most popular in this year´s São Paulo Film Festival, being among the fifteen films or so (out of about 300) to have encore showings the week after the festival closed officially. One might say this film breaks the taboo on Nazi humor as "Life is Beautiful" did for concentration camp comedy. Very enjoyable.

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Beyond the Walls (1985)

10/10

Lesbian nuns during the Spanish Inquisition

29 May 2001

Spanish super star Carmen Maura plays a nun who agrees to a selfless scam, a fake stigmata, only to avoid separation from her lover, another nun. 'Extramuros' is edgy all right: a plot or scheme agreed upon between two lovers to escape their plight, but with a twist. The scheme is similar to some we've recently seen power couples of politicians, religious leader and the like, play out on the world in the last decade. But the twist this film throws in - literal and actual self-flagellation is original.

It's a serious and passionate work, highlighting the theme of outspoken women-against-repression, seen in other good gay and lesbian films. This is not a lesbian "Nun sense" or another "Dark Habits" (by Almodovar, which also starred Carmen Maura, and also set in a Spanish convent, with some lesbian nuns).

Perhaps, best of all, 'Extramuros' is realistic and frank. It isn't shy about its characters' sexuality. Their sexuality, and the film as a whole are genuine.

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Beyond the Walls (1985)

10/10

Lesbian Stigmata in 16th Century Spain

27 May 2001

This 1985 Spanish film reveals one of the many terrible aspects of 16th century Spain, still plagued by the radical Christian Inquisition, one of a plethora of difficulties Spaniards faced at the time.

Spanish super star Carmen Maura plays a nun who agrees to a selfless scam, a fake stigmata, only to avoid separation from her lover, another nun. 'Extramuros' is edgy all right: a plot or scheme agreed upon between two lovers to escape their plight, but with a twist. The scheme is similar to some we've recently seen power couples of politicians, religious leader and the like, play out on the world in the last decade. But the twist this film throws in - literal and actual self-flagellation is original.

It's a serious and passionate work, highlighting the theme of outspoken women-against-repression, seen in other good gay and lesbian films. This is not a lesbian "Nun sense" or another "Dark Habits" (by Almodovar, which also starred Carmen Maura, and also set in a Spanish convent, with some lesbian nuns).

Perhaps, best of all, 'Extramuros' is realistic and frank. It isn't shy about its characters' sexuality. Their sexuality, and the film as a whole are genuine.

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O Postal Branco (1999)

10/10

A 'short' which will forever make you a fan!

26 May 2001

This wonderful short film will make you a fan of short films, even if you've been apathetic to them (as I had been). It's about a cute blind boy in Porto Alegre, the metropolis of Southern Brazil. This 'short' seemingly reveals all the implications of being blind, being a blind boy, a cute blind boy, and being one exploring the big city. The film impressively illustrates the handicaps and prejudices such a condition imply. White (o branco) means happiness to this boy, and the film makes this point poignantly and "brilliantly" clear. Literally, a ray of hope!

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Apariencias (2000)

7/10

Funny, if stereotyping and homophobia don't bother you

6 May 2001

This is a film which mass audiences everywhere (well, if it were in English) would like. Its characters are all caricatures the masses can identify with; being the ubiquitous comedy work horses they all are.

The humor is funny, if outdated by most standards of Western Civilization (to which Argentina aspires to belong. It did belong in the 50s, and the mass mentality stayed in that decade too; a fact most of us South Americans, Argentines included, won't dispute). At times, many may actually enjoy the fact political correctness in popular comedies hasn't arrived here yet.

Nevertheless, by Argentine standards, which has never acknowledged gays, other than occasional references as demented anti-social outcasts, this comedy shows some progress is being made in the acceptance of minorities.

This comes albeit belatedly, and at still at least 20 years behind the rest of the world they "belong" to. This is no doubt, due to the country's geographical isolation, lack of non-European immigration (like in North America & Europe), and decades, if not centuries of military rule.

That said, the tag line is "to what extreme would a man go to conquer a woman." In case you are wondering, that extreme is (God forbid!) to pass himself off as gay. That "extreme" being worse than murder, you know what mentality to expect.

The love story is never believable anyway, the gay and elitist issues aside. But the film insists on the gay issue, and this becomes very annoying as every cliche' on the subject from 20 years ago is squeezed for laughs, and every gay character- a screaming queen.

That a brilliant, gorgeous upper-class girl would leave a masculine yet sensitive guy for a low-class screaming queen is quite hard to swallow. Additionally, the guy being dumped is also gorgeous and rich: he's heterosexual, AND he lives in LA! Now, the extreme obsession with anything American is another obnoxious fixture of the film; it is filled with American phrases used to snobbish affect.

So, we are forced to believe that an "apparent" (that's the title of the film)"puto" (the most used word in the film; literally male whore-very nasty word for gay) who is a lower middle class office nerd to boot is irresistible to the near perfect modern woman the film shows us. Preposterous!

This is made even more unlikely in "appearance"-obsessed Argentina by the princess-like lifestyle of the girl contrasting with the crass, working class roots of the male pretender. The mother of the "gay" boyfriend, by the way, sports the filthiest mouth in South America. Her dialogue, though in overkill mode, is one of the most enjoyable things about the movie. It is a veritable anthology of every profane word and expression in the Argentine "porteno" version of Spanish.

So, if you enjoy seeing a contemporary "mainstream" movie comedy with humor that is still (in 2001) chauvinistic, racist, sexist and elitist, this one won't disappoint. It is funny, if you belong to the right circles.

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