Kleber Mendonça Filho’s Pictures Of Ghosts (Brazil’s Oscar submission and a highlight in the Main Slate of the 61st New York Film Festival), shot by Pedro Sotero and produced by Emilie Lesclaux transports us to Recife, the director’s hometown, the capital of Pernambuco, Brazil and unravels the history of its big cinemas - those gone and those still standing strong, what was and what has become. But before that, he takes us home to the apartment where he lived on and off for 40 years.
We see old photographs and moving images of family life and film life, how his mother remodelled the place, how his brother Múcio, an architect, added an Oscar Niemeyer touch to the roof...
We see old photographs and moving images of family life and film life, how his mother remodelled the place, how his brother Múcio, an architect, added an Oscar Niemeyer touch to the roof...
- 10/17/2023
- by Anne-Katrin Titze
- eyeforfilm.co.uk
A bevy of established auteurs – Joachim Lafosse, Cristi Puiu, Robin Campillo and Martín Rejtman – rub shoulders with the fast-rising figures of Maria Alche and Benjamín Naishtat and new U.S. discovery Raven Jackson among a first batch of directors contending in main competition at September’s San Sebastian Film Festival.
Also in the mix, announced Friday, is U.S. writer-director Noah Pritzker (“Quitters”) whose “Ex-Husbands” headlines “After Hours” co-stars Griffin Dunne and Rosanna Arquette.
Always open to a broader gamut of movies than many other “A” festivals, the first features confirmed for San Sebastian on Friday include four comedies with a change of register to lighter comedy for both Naishtat and Alche, who triumphed at 2018’s San Sebastián with “Rojo” and “A Family Submerged,” best director and Horizontes winners respectively.
The biggest movie event in the Spanish-speaking world – which means ever more as Spanish-language titles hit big viewerships on streaming...
Also in the mix, announced Friday, is U.S. writer-director Noah Pritzker (“Quitters”) whose “Ex-Husbands” headlines “After Hours” co-stars Griffin Dunne and Rosanna Arquette.
Always open to a broader gamut of movies than many other “A” festivals, the first features confirmed for San Sebastian on Friday include four comedies with a change of register to lighter comedy for both Naishtat and Alche, who triumphed at 2018’s San Sebastián with “Rojo” and “A Family Submerged,” best director and Horizontes winners respectively.
The biggest movie event in the Spanish-speaking world – which means ever more as Spanish-language titles hit big viewerships on streaming...
- 7/7/2023
- by John Hopewell
- Variety Film + TV
Paris-based Luxbox has snapped up sales rights on “Puan,” the awaited new film from María Alche and Benjamín Naishtat, two of Argentina’s fastest-rising directors.
The new title co-stars Leonardo Sbaraglia.
“Puan” catches Alché after she won San Sebastian’s prestigious Horizontes Award in 2018 for her Visit Films-sold feature debut, “A Family Submerged,” before teaming on “Puan” with Naishat who, the same year at San Sebastian, won director, actor (Dario Grandinetti) and cinematography (Pedro Sotero) in main competition for “Rojo,” sparking a rave Variety review.
“Rojo” denounced the tacit collusion of many Argentineans in the violence of Argentina’s extreme right just months before the coup d’etat which brought the Junta to power.
Also written by Alché and Naishtat, “Puan” looks like another state of the nation take, delivered, however, in lighter comic terms, set at the “weirdly amazing” – Naishtat’s words – Faculty of Philosophy of the University of Buenos Aires,...
The new title co-stars Leonardo Sbaraglia.
“Puan” catches Alché after she won San Sebastian’s prestigious Horizontes Award in 2018 for her Visit Films-sold feature debut, “A Family Submerged,” before teaming on “Puan” with Naishat who, the same year at San Sebastian, won director, actor (Dario Grandinetti) and cinematography (Pedro Sotero) in main competition for “Rojo,” sparking a rave Variety review.
“Rojo” denounced the tacit collusion of many Argentineans in the violence of Argentina’s extreme right just months before the coup d’etat which brought the Junta to power.
Also written by Alché and Naishtat, “Puan” looks like another state of the nation take, delivered, however, in lighter comic terms, set at the “weirdly amazing” – Naishtat’s words – Faculty of Philosophy of the University of Buenos Aires,...
- 5/11/2023
- by John Hopewell
- Variety Film + TV
Paris-based Loco Films has released the tense, terrifying trailer for “Property,” Brazilian director Daniel Bandeira’s survival thriller that’s set to have its world premiere Feb. 23 in the Panorama section of the Berlin Film Festival.
Lensed by veteran cinematographer Pedro Sotero, the Dp behind Kleber Mendonça Filho’s 2019 Berlinale player “Bacurau,” “Property” follows a woman who flees her family estate in an armored car after local workers rise up to occupy it. Trapped inside the vehicle, she refuses to negotiate, prompting a collision between the competing worlds of haves and have-nots that speaks to a growing schism taking shape in societies across the globe.
Bandeira’s sophomore effort is a timely and explosive portrait of a society on the brink. “Brazil is a time bomb,” the director told Variety. “We’re running toward a point where this bomb will eventually blow up.” He added: “A reckoning is on the way.
Lensed by veteran cinematographer Pedro Sotero, the Dp behind Kleber Mendonça Filho’s 2019 Berlinale player “Bacurau,” “Property” follows a woman who flees her family estate in an armored car after local workers rise up to occupy it. Trapped inside the vehicle, she refuses to negotiate, prompting a collision between the competing worlds of haves and have-nots that speaks to a growing schism taking shape in societies across the globe.
Bandeira’s sophomore effort is a timely and explosive portrait of a society on the brink. “Brazil is a time bomb,” the director told Variety. “We’re running toward a point where this bomb will eventually blow up.” He added: “A reckoning is on the way.
- 2/16/2023
- by Christopher Vourlias
- Variety Film + TV
Paris-based banner Loco Films will be hitting the European Film Market with mix of French and international movies, including the Berlinale Panorama title “Property,” as well as “Grand Expectations” and “Like An Actress.”
“Property,” which marks the sophomore outing of Brazilian helmer Daniel Bandeira, is a survival thriller lensed Pedro Sotero, the cinematographer of Kleber Mendonça Filho’s “Bacurau” and “Aquarius.” The sole Brazilian movie competing at the Berlin Film Festival, “Territory” follows Teresa, who flees her family estate in an armored car after rebelling workers start occupying it. She’s trapped, but refuses to negotiate, prompting a collision between two universes.
Laurent Danielou at Loco Films pointed Bandeira was part of the collective Recife alongside Mendonça Filho with whom he teamed on his first short film “Little Cotton Girl.” “Property” is produced by Simio Filmes and Vilarejo Filmes whose credits include other politically minded films such as “Aquarius.”
“‘Property...
“Property,” which marks the sophomore outing of Brazilian helmer Daniel Bandeira, is a survival thriller lensed Pedro Sotero, the cinematographer of Kleber Mendonça Filho’s “Bacurau” and “Aquarius.” The sole Brazilian movie competing at the Berlin Film Festival, “Territory” follows Teresa, who flees her family estate in an armored car after rebelling workers start occupying it. She’s trapped, but refuses to negotiate, prompting a collision between two universes.
Laurent Danielou at Loco Films pointed Bandeira was part of the collective Recife alongside Mendonça Filho with whom he teamed on his first short film “Little Cotton Girl.” “Property” is produced by Simio Filmes and Vilarejo Filmes whose credits include other politically minded films such as “Aquarius.”
“‘Property...
- 2/9/2023
- by Elsa Keslassy
- Variety Film + TV
“A cinematographer is a visual psychiatrist–moving an audience through a movie […] making them think the way you want them to think, painting pictures in the dark,” said the late, great Gordon Willis. As we continue our year-end coverage, one aspect we must highlight is, indeed, cinematography. From talented newcomers to seasoned professionals, we’ve rounded up the examples that have most impressed us this year. Check out our rundown below.
An Easy Girl (Georges Lechaptois)
The French Riviera is the fitting location for this tale of sexual discovery and class criticism. Georges Lechaptois’ frames are gorgeous not just because of the landscape––we have reoccurring overhead shots of the crystal-blue tides rustling against the beach where characters lay––but the juxtaposition of the quiet life out on the sea. The sun-soaked vistas at lunch are as lively as the quiet, sensuous nights the lovers spend in their dimly lit...
An Easy Girl (Georges Lechaptois)
The French Riviera is the fitting location for this tale of sexual discovery and class criticism. Georges Lechaptois’ frames are gorgeous not just because of the landscape––we have reoccurring overhead shots of the crystal-blue tides rustling against the beach where characters lay––but the juxtaposition of the quiet life out on the sea. The sun-soaked vistas at lunch are as lively as the quiet, sensuous nights the lovers spend in their dimly lit...
- 12/22/2020
- by The Film Stage
- The Film Stage
Argentina’s Benjamín Naishtat, writer-director of “Rojo,” is preparing “Pobres Pibes,” a contemporary noir thriller adapting novelist Robert Arlt’s 1929 “The Seven Madmen.”
Also working off “The Flamethrowers,” Arlt’s 1931 sequel to “The Seven Madmen,” Naishtat’s fourth feature marks his first adaptation. Following up “Rojo,” a big prize winner at the 2018 San Sebastian Festival, “Pobres Pibes” weighs in as, on paper, one of the major highlights at the San Sebastian Festival’s Co-Production Forum, which takes place online from Sept. 19-21.
Depicting “contemporary mayhem from the point of view of a young man with nothing to loose,” said Naishtat, “Pobres Pibes” will be an “unnerving, fast-paced, urban tale that could make you both laugh and feel uncomfortable,” he added.
“This somewhat existential noir,” he says in a presentation, “is built on the basis of a fascination for irredeemable losers and their preferred emotion, the one that governs our time: Resent.
Also working off “The Flamethrowers,” Arlt’s 1931 sequel to “The Seven Madmen,” Naishtat’s fourth feature marks his first adaptation. Following up “Rojo,” a big prize winner at the 2018 San Sebastian Festival, “Pobres Pibes” weighs in as, on paper, one of the major highlights at the San Sebastian Festival’s Co-Production Forum, which takes place online from Sept. 19-21.
Depicting “contemporary mayhem from the point of view of a young man with nothing to loose,” said Naishtat, “Pobres Pibes” will be an “unnerving, fast-paced, urban tale that could make you both laugh and feel uncomfortable,” he added.
“This somewhat existential noir,” he says in a presentation, “is built on the basis of a fascination for irredeemable losers and their preferred emotion, the one that governs our time: Resent.
- 9/14/2020
- by John Hopewell
- Variety Film + TV
Juliano Dornelles on Michael in Bacurau: “When Udo Kier’s character said to the outsiders about the Brazilian collaborators, ‘They don’t speak Brazilian here.’ Brazilian, it’s not a name.”
In celebration of the theatrical release of Bacurau in New York, Kleber Mendonça Filho and Juliano Dornelles will present Mapping Bacurau, a program of films that include John Sayles’s Lone Star,; Colin Eggleston’s Long Weekend; Paul Morrissey’s Blood For Dracula; 70mm print of John Carpenter’s Starman; Ted Kotcheff’s Wake In Fright, and a 4K restoration of Robin Hardy’s The Wicker Man: The Final Cut.
Kleber Mendonça Filho with Juliano Dornelles on Bacurau: “The horses for us is a very interesting marker that this is a Western. They’re beautiful animals, the way they move.” Photo: Anne-Katrin Titze
Bacurau, shot by Pedro Sotero, edited by Eduardo Serrano, costumes by Rita Azevedo, with a.
In celebration of the theatrical release of Bacurau in New York, Kleber Mendonça Filho and Juliano Dornelles will present Mapping Bacurau, a program of films that include John Sayles’s Lone Star,; Colin Eggleston’s Long Weekend; Paul Morrissey’s Blood For Dracula; 70mm print of John Carpenter’s Starman; Ted Kotcheff’s Wake In Fright, and a 4K restoration of Robin Hardy’s The Wicker Man: The Final Cut.
Kleber Mendonça Filho with Juliano Dornelles on Bacurau: “The horses for us is a very interesting marker that this is a Western. They’re beautiful animals, the way they move.” Photo: Anne-Katrin Titze
Bacurau, shot by Pedro Sotero, edited by Eduardo Serrano, costumes by Rita Azevedo, with a.
- 2/23/2020
- by Anne-Katrin Titze
- eyeforfilm.co.uk
Kleber Mendonça Filho with Anne-Katrin Titze on Bacurau being set a few years in the future: “It’s a heightened state.” Photo: Juliano Dornelles
In the second part of my in-depth conversation with Kleber Mendonça Filho and Juliano Dornelles on Bacurau, their Cannes Film Festival Jury Prize winner (shared with Ladj Ly’s International Oscar shortlisted film Les Misérables), a Roman Polanski Chinatown connection to the struggles with water shortage in the Northeast of Brazil was made. Kleber commented on George Miller’s original Mad Max from 1979, where the story is set a few years from now, which “puts you in a state of suspension”, noted that we’ve now reached the year Ridley Scott’s Blade Runner from 1982 took place, and marvelled if it hadn’t been a stronger choice to skip the year 2019 and merely set it in a perpetual future.
Juliano Dornelles on Bacurau: “It was always...
In the second part of my in-depth conversation with Kleber Mendonça Filho and Juliano Dornelles on Bacurau, their Cannes Film Festival Jury Prize winner (shared with Ladj Ly’s International Oscar shortlisted film Les Misérables), a Roman Polanski Chinatown connection to the struggles with water shortage in the Northeast of Brazil was made. Kleber commented on George Miller’s original Mad Max from 1979, where the story is set a few years from now, which “puts you in a state of suspension”, noted that we’ve now reached the year Ridley Scott’s Blade Runner from 1982 took place, and marvelled if it hadn’t been a stronger choice to skip the year 2019 and merely set it in a perpetual future.
Juliano Dornelles on Bacurau: “It was always...
- 12/29/2019
- by Anne-Katrin Titze
- eyeforfilm.co.uk
Kleber Mendonça Filho and Juliano Dornelles on the first shot in Bacarau: “It’s also kind of an homage to John Carpenter’s opening for two of his films, Starman and The Thing.” Photo: Anne-Katrin Titze
Kleber Mendonça Filho and Juliano Dornelles' Bacurau, shot by Pedro Sotero, edited by Eduardo Serrano, costumes by Rita Azevedo, and starring Sônia Braga, Udo Kier and Bárbara Colen, had its world première at the Cannes Film Film Festival, where it won the jury prize (shared with Ladj Ly's Les Misérables). It was a highlight of the New York Film Festival. Bacurau is breathtaking from the start with Gal Costa singing Não Identificado by Caetano Veloso.
Sônia Braga is Domingas in Bacurau, not in Boyhood or Exit Through The Gift Shop Photo: Anne-Katrin Titze
In the first instalment of my conversation with the directors, they make a connection to François Truffaut’s Fahrenheit 451...
Kleber Mendonça Filho and Juliano Dornelles' Bacurau, shot by Pedro Sotero, edited by Eduardo Serrano, costumes by Rita Azevedo, and starring Sônia Braga, Udo Kier and Bárbara Colen, had its world première at the Cannes Film Film Festival, where it won the jury prize (shared with Ladj Ly's Les Misérables). It was a highlight of the New York Film Festival. Bacurau is breathtaking from the start with Gal Costa singing Não Identificado by Caetano Veloso.
Sônia Braga is Domingas in Bacurau, not in Boyhood or Exit Through The Gift Shop Photo: Anne-Katrin Titze
In the first instalment of my conversation with the directors, they make a connection to François Truffaut’s Fahrenheit 451...
- 10/27/2019
- by Anne-Katrin Titze
- eyeforfilm.co.uk
Sônia Braga with Anne-Katrin Titze on her role in Bacurau: "She's a person that takes care of the community." Photo: Rachel Allen
Kleber Mendonça Filho and Juliano Dornelles' Bacurau, shot by Pedro Sotero, had its world première at the Cannes Film Film Festival where it won the jury prize (shared with Ladj Ly's Les Misérables) and is a highlight of the New York Film Festival.
On the afternoon following the Us première at Alice Tully Hall, the directors of Bacurau and Sônia Braga, (who stars alongside Udo Kier (Rick Alverson's The Mountain) and Barbara Colen) joined me for a conversation. The Paris Theatre in New York, where Bruno Barreto's Dona Flor And Her Two Husbands and Aquarius had their premières, has a special place in Sônia Braga's heart.
Bacurau co-director Juliano Dornelles was the production designer on Kleber Mendonça Filho's Aquarius and Neighboring Sounds Photo: Anne-Katrin...
Kleber Mendonça Filho and Juliano Dornelles' Bacurau, shot by Pedro Sotero, had its world première at the Cannes Film Film Festival where it won the jury prize (shared with Ladj Ly's Les Misérables) and is a highlight of the New York Film Festival.
On the afternoon following the Us première at Alice Tully Hall, the directors of Bacurau and Sônia Braga, (who stars alongside Udo Kier (Rick Alverson's The Mountain) and Barbara Colen) joined me for a conversation. The Paris Theatre in New York, where Bruno Barreto's Dona Flor And Her Two Husbands and Aquarius had their premières, has a special place in Sônia Braga's heart.
Bacurau co-director Juliano Dornelles was the production designer on Kleber Mendonça Filho's Aquarius and Neighboring Sounds Photo: Anne-Katrin...
- 10/4/2019
- by Anne-Katrin Titze
- eyeforfilm.co.uk
IndieWire reached out to the cinematographers whose feature films are premiering at the Cannes Film Festival to find out which cameras and lenses they used and, more importantly, why these were the right tools to create the visual language of their films.
Page 1: Competition (Palme d’Or Contenders)
Page 2: Out of Competition & Special Screenings
Page 3: Un Certain Regard & Critics’ Week
Page 4: Directors’ Fortnight
(Films are in alphabetical order by title.)
Competition
“Atlantics”
Dir: Mati Diop, DoP: Claire Mathon
Format: Digital, 1.66 aspect ratio, post production was done in 2K
Camera: Red Epic 5K and Panasonic Varicam35 4K
Lens: Angenieux 45/120 and 25/250, and Zeiss lenses T1.3
Mathon: We chose the Red Epic to shoot daytime, to give romance to images that were captured in a documentary way, and to enhance the sun-drenched sets. We wanted to make a film that was visually arresting but remained very grounded in reality...
Page 1: Competition (Palme d’Or Contenders)
Page 2: Out of Competition & Special Screenings
Page 3: Un Certain Regard & Critics’ Week
Page 4: Directors’ Fortnight
(Films are in alphabetical order by title.)
Competition
“Atlantics”
Dir: Mati Diop, DoP: Claire Mathon
Format: Digital, 1.66 aspect ratio, post production was done in 2K
Camera: Red Epic 5K and Panasonic Varicam35 4K
Lens: Angenieux 45/120 and 25/250, and Zeiss lenses T1.3
Mathon: We chose the Red Epic to shoot daytime, to give romance to images that were captured in a documentary way, and to enhance the sun-drenched sets. We wanted to make a film that was visually arresting but remained very grounded in reality...
- 5/14/2019
- by Chris O'Falt
- Indiewire
Between Two Waters Photo: Courtesy of San Sebastian Film Festival Isaki Lacuesta's Between Two Waters (Entre Dos Aguas) took home the top prize Golden Shell at San Sebastian Film Festival last night. The film - which catches up with brothers who first appeared in his The Legend Of Time (La Leyenda Del Tiempo) - marks the second time the Spanish has won the accolade, after lifting the prize in 2011 for The Double Steps (Los Pasos Dobles).
It was also a good night for Benjamin Nashiat, whose scathing and stylish look at corruption in Argentina on the brink of the 1975 coup won best director, best actor for Dario Gardinetti and best cinematography for Pedro Sotero. Pia Tjelta won the best actress award for her fully committed performance as a mother in shock and hysterics for almost the entire runtime of Norwegian drama Blind Spot, which is a particularly impressive performance...
It was also a good night for Benjamin Nashiat, whose scathing and stylish look at corruption in Argentina on the brink of the 1975 coup won best director, best actor for Dario Gardinetti and best cinematography for Pedro Sotero. Pia Tjelta won the best actress award for her fully committed performance as a mother in shock and hysterics for almost the entire runtime of Norwegian drama Blind Spot, which is a particularly impressive performance...
- 9/30/2018
- by Amber Wilkinson
- eyeforfilm.co.uk
Benjamín Naishtat wins best director Silver Shell for Rojo.
Spanish production Between Two Waters (Entre Dos Aguas) by Isaki Lacuesta has won the top award at the San Sebastián Film Festival, marking a second Golden Shell for the Spanish director who after claiming the top prize in 2011 for The Double Steps.
Between Two Waters tells the story of two Roman brothers who meet again after years apart, one having spent some time in prison, the other in the army.
The title is a Spanish expression that translates to “neither here nor there”, and is also the title of a classic...
Spanish production Between Two Waters (Entre Dos Aguas) by Isaki Lacuesta has won the top award at the San Sebastián Film Festival, marking a second Golden Shell for the Spanish director who after claiming the top prize in 2011 for The Double Steps.
Between Two Waters tells the story of two Roman brothers who meet again after years apart, one having spent some time in prison, the other in the army.
The title is a Spanish expression that translates to “neither here nor there”, and is also the title of a classic...
- 9/29/2018
- by Elisabet Cabeza
- ScreenDaily
San Sebastian — Isaki Lacuesta’s “Between Two Waters” won big at San Sebastian Saturday night, taking its top Golden Shell, the second time the Catalan director has won the award, after 2011’s “The Double Steps.”
Otherwise, the big winner of the night was Benjamin Naishtat’s covert violence thriller “Rojo,” which took director, actor (Dario Grandinetti) and cinematography (Pedro Sotero).
This year’s edition saw a a hugely-raised Hollywood star quotient, a half score or more of A-list talent hailing into town to tub-thump titles: Bradley Cooper (“A Star is Born”), Ryan Gosling (“First Man”), Alfonso Cuarón (“Roma”), Robert Pattinson (“High Life”), Chris Hemsworth (“Bad Times at the El Royale”), John C. Reilly (“The Sisters Brothers”).
As Venice becomes ever more an Oscar platform, movies will now hit San Sebastian three weeks later, often off Toronto, their stars in tow, to capitalize on and push their potential Academy Award glory.
Otherwise, the big winner of the night was Benjamin Naishtat’s covert violence thriller “Rojo,” which took director, actor (Dario Grandinetti) and cinematography (Pedro Sotero).
This year’s edition saw a a hugely-raised Hollywood star quotient, a half score or more of A-list talent hailing into town to tub-thump titles: Bradley Cooper (“A Star is Born”), Ryan Gosling (“First Man”), Alfonso Cuarón (“Roma”), Robert Pattinson (“High Life”), Chris Hemsworth (“Bad Times at the El Royale”), John C. Reilly (“The Sisters Brothers”).
As Venice becomes ever more an Oscar platform, movies will now hit San Sebastian three weeks later, often off Toronto, their stars in tow, to capitalize on and push their potential Academy Award glory.
- 9/29/2018
- by John Hopewell and Jamie Lang
- Variety Film + TV
The past is a hurriedly abandoned house, ripe for the looting, in Benjamin Naishtat’s superbly sinister and stylish “Rojo.” And so it begins with one: A mid-sized, detached 1970s home, its windows shuttered like the closed eyes of a coma patient. A portly, well-dressed man emerges carrying an ornamental clock — this scoreless scene, set to chilly early-morning birdsong, is already tinged with absurdity — before a girl scurries off with an armful of clothes, an older lady totters out under the weight of a gilt mirror and some men maneuver a TV through the doorway. They are not residents, nor neighbors attending a yard sale; they are scavengers, implicitly turning some unseen family’s misfortune to their own end. This is regional Argentina in 1975, and while the coup d’état won’t happen for months, the unease of it is already an airborne disease carried backward on the wind. Argentina...
- 9/28/2018
- by Jessica Kiang
- Variety Film + TV
The Kids Are All Right: Barbosa Explores Brazil’s Class Fissures in Evenhanded Debut
Familiar dramatic conflicts are elevated by strong performances and astute characterizations in Brazilian director Fellipe Barbosa’s directorial debut, Casa Grande. An exploration of significant class issues, a recurrent trope in many recent socially minded offerings from an increasingly exciting and prolific new generation of filmmakers in Brazil, Barbosa’s film premiered at the Rotterdam Film Festival about a year before Anna Muylaert’s Sundance debut, The Second Mother, a similar economically tinged drama from the perspective of the working class characters.
Barbosa captures the shameful downfall of a well-to-do white family on their initial descent into financial ruin as witnessed by their 17-year-old son as he grows from clueless, privileged teen to rebellious, outspoken personality who discovers how to speak for himself. Though its subject matter might seem a bit too by the book,...
Familiar dramatic conflicts are elevated by strong performances and astute characterizations in Brazilian director Fellipe Barbosa’s directorial debut, Casa Grande. An exploration of significant class issues, a recurrent trope in many recent socially minded offerings from an increasingly exciting and prolific new generation of filmmakers in Brazil, Barbosa’s film premiered at the Rotterdam Film Festival about a year before Anna Muylaert’s Sundance debut, The Second Mother, a similar economically tinged drama from the perspective of the working class characters.
Barbosa captures the shameful downfall of a well-to-do white family on their initial descent into financial ruin as witnessed by their 17-year-old son as he grows from clueless, privileged teen to rebellious, outspoken personality who discovers how to speak for himself. Though its subject matter might seem a bit too by the book,...
- 11/13/2015
- by Nicholas Bell
- IONCINEMA.com
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