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An error has ocurred. Please try againCriteria: below ten titles, only counting films and TV films, and with less than two known works (that's why you won't be seeing Heather O'Rourke here, just an example).
Monalisa thief Vincenzo Peruggia (8 October 1881 – 8 October 1925); journalist William Monroe Trotter (April 7, 1872 - April 7, 1934); military Filinto Müller (11 July 1900 - 11 July 1973); painter Nair de Tefé (16 June, 1886 - June 16, 1981); sportswriter Martin Manley (15 August, 1953 – 15 August, 2013); terrorist Yakub Memon (30 July, 1962 – 30 July, 2015); criminal T. Eugene Thompson (August 7, 1927 - August 7, 2015); author Victor Thorn (August 1st, 1962 - August 1st, 2016) and Lula's mother-in-law Vani Terezinha Ferreira (October 28, 1940 - October 28, 2020).
Reviews
Talking Heads: This Must Be the Place (Naive Melody) (1983)
A relaxing time with the Heads
Talking Heads along with their entourage from the early 1980's, that we grew to like and admire after their amazing act in "Stop Making Sense"
all appear in this video for "This Must Be the Place (Naive Melody") where they watch some home videos of themselves on a projector and later on
perform their act inside a small basement that doesn't somehow they manage to fit.
A lovely intimate moment of the group having a fun time both during their musical act and also in between laughs and admiration for each other as
they view themselves on the screen. But David Byrne "stealing" the cookie before the performance was hilarious. The song? Catchy, groovy and fun to
hear it over and over. A pity that it's a little cut since the instrumental bit at the opening is a little prolongued, but doesn't hurt the whole
experience.
Far from the kitsch and the almost surreal spectacle of their other music videos, the Heads makes of this a charming and enjoyable view of themselves,
just relaxing and doing what they like. After all, "home is where I want to be." 9/10.
The Jesus & Mary Chain: Just Like Honey (1985)
A great and unusual video icon from the 80's
An iconic video from the 1980's that drifts away from the excesses of the decade yet its minimal style on everything gives a certain appeal to
it, and if not at least it's highly memorable for what it shows and how it sounds. To film lovers the song is best rememberd for its use on the
conclusion of "Lost in Translation" - that's when I got to know it and enjoy it ever since.
The Jesus & Mary Chain perform the amazing "Just Like Honey" on
a small set where a great wall behind them reads "Candy" in gigantic letters - probably they couldn't use the album's name "Pyscho Candy" in the
background as there was some heavy censorship on music channels. But just "Candy" sells well. Along with the band's performance, all the chord
players with their messy hair falling down their faces, barely mimicking with their instruments movements, they play a little with a flashlight
when the sets goes dark. Little of coloring is used, it's almost monochromatic and it forms a quite unique view from the usual colorful music videos
from the 80's.
Unusual as it yes, it fits well with the melancholy of its lyrics, the crudity of its guitar riffs echoing with a controlled drumming. It's not
necessarily a visual spectacle, neither should be and for all the mininum, almost careless effort of it all is that "Just Like Honey" becomes one of
the most curious music videos ever made. My favorite from the group as it is the most memorable. 9/10.
Urge Overkill: Girl, You'll Be a Woman Soon (1994)
Classic soundtrack clip
A great cover from Neil Diamond classing song, the rendition made by Urge Overkill for the "Pulp Fiction" soundtrack managed to shadow the
original version and becoming a large hit from the 1990's along with the successful award-winning Tarantino movie. It's the basic concept of a
soundtrack music video with few clips from the film and the band performance, this one captured on a boat at night with people having dinner
and barely noticing the band's presence.
It sells "Pulp Fiction" in a great way from the get-go, showing Uma Thurman and her Mia Wallace character playing the song on her great stereo
system, the few clips presented are just the special happy moments rather than the thrills or the violence of it all, with few shots from the main
cast; and Urge Overkill's presence dominates the clip as they perform the great ballad. Not sure if the settings suits the atmosphere and/or the film's themes but nothing wrong with it A great soundtrak classic from the 1990's. 8/10.
Architecture of Transcendence (1988)
A look at Beauvais Cathedral
A unique view on the Cathedral of Saint Peter of Beauvais (also known as Beauvais Cathedral), one of the largest constructions in Europe and
initially designed to be the biggest cathedral of the continent but after a series of events, crisis and disasters it never got finished, if we consider
the original plan that dates back to 1225 (consecrated in 1272).
It was an impressive view from its facades, exteriors and interiors with many Ghotic art, with its gigantic porthics and navels, and as the images flow we have
the great music by Philip Glass, a track taken from his album "Glassworks" which makes a great combination with the cathedral. Don't particularly
find as having a beautiful exterior, it's almost a poor version of Notre Dame that moves all the way to the skies rather than expanding on the sides;
but it's interior with many shades of blue, the skylight hitting everything in a magnificent manner feels as special as a movie set - not sure if it
was ever for a film, but it should. It's haunting and beautiful all at once.
No voice-overs to present about its story, there's only a handful of titles at the documentary bookends which creates more mystery and fascination
on viewers in researching to know more. Fans of architecture and history will have a delighful time with this piece. 8/10.
The Fayum Portraits: Funerary Painting of Roman Egypt (1988)
A good view on tombstone art from ancient Egypt
One curious and artistic look at the Fayum Portraits, those famous funerary paintings from ancient Egypt that portrayed and immortalized the
many faces from the period, from nobles to merchants and even relatives of servants. Amazingly beautiful portraits that survived the times and became
a portal to makind's past, where we are allowed the chance to look on present day, imagine who they were as we watch those serious faces glancing at
us.
Archeologist Richard Brilliant explains a little how those paintings were conceived without using normal paint, it was a whole unique and slow
process used - don't remember the exact material - and he selected excerpts from ancient texts (narrated by actors) that reflect how some of those
faces could view their encounter with death and meeting their ancestors or the gods; and in one particular moment, it's described the son of a
noble's servant who felt to his death while enjoying some festivity. A quite emotional description, though it's hard to tell if any of the portraits
featured are exactly related with the descriptions given as no names or status are revealed. But it's interesting to imagine.
A highly commendable and very educational short documentary on the history of art and ancient Egypt, and despite the morbid theme of death
it's a quite attractive project done in artistic manner as we only watch the series of paintings being displayed (a collection spread all around
the world from several museums), a fine change of routine for a documentary without having someone explaining things to us. 8/10.
Tabu (1982)
A crazed and unique combination of elements that somehow works
Crazed, hollow but not entirely erratic, the musical comedy "Tabu" ("Taboo") is another fantasy tribute to the Week of Modern Art of 1922, made on
celebration to its 60th anniversary. Like Joaquim Pedro de Andrade's film "O Homem do Pau Brasil" ("The Brazilwood Man"), both were released on the same
year, and they had modernist poet Oswald de Andrade as their main character while placing him on fictional scenarios. This film, by Júlio Bressane,
imagines a 1930's meeting between Oswald (Colé Santana) with Carnival machinhas composer Lamartine Babo (singer Caetano Veloso), with both artists
sharing their views on Brazil, social and sexual relations, and paying artistic tributes to one another.
"Tabu" doesn't have an established narrative, it's more like a collage of elements that are always punctuated with countless musical numbers
from 1920's marchinhas. Along with few performatic moments, that also includes other real characters played by Norma Bengell, José Lewgoy and Mário
Gomes, the film intertwines bits and pieces from silent era movies to compose its panorama of early Brazil; poems and lyrics; and vintage pornographic
films (perhaps what stands out amidst the randomness of it all. Very graphic stuff, so stay out if easily offended).
While it does create an interesting and wide view of Brazil and its culture of the early 20th century, it's a film that doesn't have much of a goal
neither a message that validates the fictional encounter of two important cultural figures. It just shows that they would get along just fine, one admires
the other; both were terrible bohemians and womanizers yet they left their mark in creating a genuine and modern culture in Brazil, that was proud
and also very critical country of the country.
But I enjoyed seeing a film from the early 1980's that was highly artistic and challenging, as opposed to the other two fronts of cinema most
present at the time, a division between political/social cinema or the pornochanchadas and sofcores. "Tabu" was a breath of fresh air outside of those
two established genres that praises a national culture, and it's funny, almost insane and quite entertaining. It's not poem nor prose, it's a mixture of art forms and elements that somehow works well together without excesses.
However, one cannot say Bressane was
entirely original with some devices used, such as the use of bloopers and his own voice shouting directions to the actors in the actual scene
filmed, as Glauber Rocha had done previously on his final film, the genial "A Idade da Terra". It's curious to see those moments, but they can also
be distractive at times amidst the lack of order and coherence of everything.
Enjoyable for the most part, and enjoyable for how it tries to create a valid portrait of what Brazil's culture was and what could be
if imagined in such bizarre yet artistic way. It's different than anything you might have seen, even by today's standards. 6/10.
Jacob Lawrence: An Intimate Portrait (1993)
A great intimate portrait
A very inspiring and interesting intimate portrait of one of the greatest African-American artists of all time, painter Jacob Lawrence. A
great representative of the dynamic cubism with works characterized by social realism, some abstracton and a great use of colors, Lawrence portrayed
the daily life of Harlem, the good and the bad from it, and other works that reflect America's past and the times he lives, and also the world. Despite
many social thematics that reflect the black experience in America, and mostly were seen as social denounces or used for social causes, he didn't
envisioned himself as a political artist or used of his art to make a protest platform. He just captured what he's seen, what he felt and to anyone
who views his works it looks as something deeper, meaningful and something that opens our eyes to reality.
Along with his views on art and his work (also as a teacher), there's many interviews with young artists who were inspired by his works, scholars and his wife, the
also artist Gwendolyn Knight. The points of view expressed by a student of his and the young man who has an art group in California were some of the
enlightning and most charming bits from the piece, as to show how Lawrence was a positive influence in their lives, and showed them that they could live
through their art, express themselves and help their commnunities. I didn't know anything about the man and the artist before, but after this documentary
he got himself a new admirer and observer of his talents. 9/10.
Coup de chance (2023)
Enjoyable film but Allen stills threads into known territory with some small variations
"Luckily, I ran into you..." or was it a matter of chance? In Woody Allen's latest film his obsession for the thematic of crime and punishment gets
fixed with his peculiar sense of humor while exploring the possibilities and happenings of life as he questions if there are things such as luck or
chance and how they can affect everything for better or worse. Nothing new under the sun, specially when it comes to Allen as he dealt in exemplary ways
with those themes in the dramatic efforts "Crimes and Misdemeanors" and "Match Point", complex and thrilling works where love triangles are destroyed by
the acts of murder and one has to live with the burden of guilt, without the one they love but reaping some benefits. "Coup de Chance" falls into that
exact setting, closing a loose trilogy, but this time the humor element becomes the dominant element rather than the tragedy. Or at least, that's what
Allen is trying to make us see, a potential dramatic story with a humored perspective. It works but not fully.
This time, we move from his beloved New York to Paris where we meet the perfect couple Fanny and Jean (Lou de Laâge and Melvil Poupaud), happily
settled into their bourgeois lifestyle and culture and they don't have anything to worry about. But fate intervenes when Alain (Niels Schneider), a young
schoolmate of Fanny appears in her life after many years without seeing each other and he reveals that he always had a crush on her. In between talks
about luck and chance, as the young writer truly believes in one of those things, a love affair blossoms between them, though she detests the idea of
cheating on Jean. Obvious that Jean will know about them, and there's no need to go further with what comes next.
What do we get in this conjunction of ideas? An ellegant fine drama with some weightless comedy that takes a little too long to actually get some
laughter from us (even nervous ones). For the most part it was a very anxiety inducing film that I could not see much humor from it and Allen's films
usually make me laugh - even the heavy dramas. It's only after Fanny's mother (Valerie Lemercier) becomes a more recurring character that the story takes
off with some brilliancy and fun, as she become nosy about everything that happens in the couple's life and a background mystery revolving a friend of
Jean who disappeared.
I liked that Allen finally took a clear stance on the "crime and punishment" device, as opposed to the other two forementioned films, or at least
you can see that the punishment is more evident outside of being something only the criminal suffers deep down inside - plus it was funny. Don't think
the whole conflict between luck or chance was so gripping or fascinating as shown in here, as there's many ambiguous things or others that don't develop
at all (who won the lottery ticket?). Yet, there's so good room for audiences to analyze and observe the events that happens with those characters and
have their own theories if luck or chance affects them in a positive way or not.
Besides the high anxiety feels, the other obstacles in the way which affects the film a little are that Allen didn't capture/portray French culture
in an interesting manner - it's like he transports the oddities and complexities of his New Yorkers into France, so they all become very talkative but
the conversation isn't funny nor so eloquent; and having Melvil Poupaud playing the antagonist right after the frightening abusive husband in "Just the
Two of Us" wasn't much of a good choice. He's very good in the role, the best performance in the film, but it kills any chance of unpredictability because
you know what to expect. Had Louis Garrel been chosen for that role (and he worked with Allen in "Rifikin's Festival"), we'd have something different and very
unexpected. I wish Alain/Schneider had more sequences as he's such a high-spirited/loving man as opposed to the possessive and neurotic Jean and his obsession
for train models.
Rumor has it that Woody Allen might not direct again - many obvious reasons. If confirmed and become a fact, it's a bittersweet swan song that
stays far back on his resume and far apart from his masterpieces. It's a quite enjoyable film, it has plenty of his known qualities (for better or worse).
But, as for his recent films it annoyed me that it seemed that he always kept drinking from the very same sources of inspiration (Dostoevsky, Tennessee
Williams, Freud, F. Scott Fitzgerald, himself) as if there wasn't more novelists/playwrights to be inspired from, or human issues that he could have dealt
with. That he still mantained a career despite some 30 years of personal life turbulence is pure luck and we're the fortunate ones to have the chance to see all of his
works. 7/10.
You, Me, and Movies (2023)
Love for films
A research on composer Philip Glass' recent credits brought me here as the title left me curious. A short documentary on two friends who share
their love and admiration for movies and how the art of cinema impacted their lives. It's all good, nothing wrong about that and for anyone who visits
this very special site we all have our takes on the importance films have in our lives and we share it in the best way we can; Nathan Kornick made a
short, which presents his brief opinions, just as his friend Chris Shields, and there's also some clips from their favorite films.
Different films and different life journey's yet the emotions brought on by this amazing media are all the same: to feel amazement, joy, sadness,
to feel connected with others, to experience other realities or universes, to find truth, to feel horrified, or to better understand life, get new
perspectives, feel inspired, or even get occupied for a couple of hours where the problems of life cannot hit you either in a dark room or at the comfort
of home. And spreading the magic and those emotions with others is a higher accomplishment that makes it all better. I could go on and on with those
words, not necessarily exactly what they say but it's close to the intention (I hope). I'd probably have to make an 2-hour video with all the great
feelings and experiences I had with the seventh art and it wouldn't be enough. That's how deep such love goes.
I enjoyed it but I'm a little suspect to talk about since I love those kind of projects revolving film tributes, and I loved Nathan's response
he gives when people asks why he won't do something else instead of just movies. I'd be a lot more dramatic with countless of reasons; he was quite
polite and funny. But to both of them (and many others out there) I say this: Expand your canvas, study the masters and the classics and you'll get an even wider and
most amazing worldview like very few have the chance, and those experiences cannot be taken away from you. While a comprehensive home media collection
is shown plus some few clips, there's still too much Hollywood there and many fresh releases. Understandable for reasons. But there's time for growth and curiosity to develop. 8/10.
Freud's Last Session (2023)
Disappointing and hardly ever engaging or enlightened on its serious topics
"Freud's Last Session" comes as a huge disappointment for me. This fictionalized encounter between groundbreaking pyschoanalyst Sigmund Freud
(Anthony Hopkins) and writer C. S. Lewis (Matthew Goode), on the early days of World War II with the first German bombers coming to England, doesn't
challenge viewers in asking themselves about what they're trying to figure out while challenging themselves about the nature of man and if God exists
or not (Freud is an atheist; Lewis is a Christian believer).
Adapted from Matt Brown's play, the material is poorly translated to the screen which
doesn't allow a solid 15 minutes with both of those characters alone in their session without keep coming back and forth between some background
moments from each character, or either some present situations with the threats of bombing or Freud's poor health that needs constant care from his
daughter, of which we have some tense revelations about her relationship with his dominating father. And they tried so hard to make it a plot twist
when it comes about that character and her secretary that it was annoying - specially if you know that while Freud didn't condemn homosexuality as a
moral issue, but he didn't want them near him (read Paul Roazen's works on him).
One sort of expects this being a psychoanalysis session rather than a weird chatting between famous authors with opposite views. For the life of
me, as it wasn't a session in fact, I still don't have a clue on what Lewis was doing there. The verbal duels are the moments we wait for, there are
so many interesting bits and exchanges between them but as a whole it all falls flat because either the dialogue is not that brilliant; the editing makes
it all look like a tennis match - there's not a single moment for some monologue or some plan sequence; and the constant sidetrack of past moments that
tries to build some character, or show some background but it's all disengaging and tedious.
A film that works with such ideals and challenges about mankind, God, faith and human relations while opposed or favorable to all that must have
some coherence between action and dialogues, to create something that we in the audience might have question ourselves or haven't thought about. It must
create some excitment even if those issues aren't all that thrilling (to some) and stay in the "boring" play format without distractions. If there's
a play and film adaptation that translated such sentiment in a brilliant way was "The Sunset Limited", with Samuel L. Jackson and Tommy Lee Jones. Simple
through actions as it stays in a small apartment room and the brilliance from the complex dialogues becomes a fascinating and mindblowing experience. Hopkins
and Goode don't share the same dynamic despite being good performers. The excessive use of humor and the many interruptions in their digressions didn't
help, and we perceive them as bitter figures that don't reach any enlightning conclusion.
Here's a film that crushed any previous and possible good expectations that I could have about presenting a challenging duel of opposed views from
great minds of the 20th century, starring two favorite actors of mine. Its flawed and distractive presentation left me emptied out and waiting for
more. Sadly, it delivered so little that either Freud and Lewis still became mysteries to me, and only their works or books about them will solve a little
such mystery. I'd rather see Freud's first session, instead. 5/10.
Daily Life in Egypt: Ancient and Modern (1925)
A small contrast of 1925's Egypt with the ancient one
A very curious short documentary focusing on the Egypt of 1925 and how little certain aspects from agriculture, tradition and culture hasn't
changed so drastically from the ancient Egypt of 4000 years ago, when pharaos and pyramids ruled the world. Mady by two known Egyptologists, the silent
film (that got a re-release with a musical score) captures the daily routine of peasants working their crops and fields, boat crossing, house constructions
at the same time many works of art from ancient Egpyt showing that same routine are used to compare and evidence the similarity of both eras. The second half
of the film focuses on showing Cairo, a little more modernized with its markets, products, vehicles and crowds from all over the world.
It's a great, patient and beautiful view of everything - the movie was really well preserved by the MET team, and the real shock we have comes
from seeing a place deeply rooted with traditions and historical culture as it is one of the cradles of civilizations of the world yet very little traces
of modernity and technological evolution had come their way back in the early 1920's if compared to Western societies that changed in drastic
manners in a period of 400 years or less. Only on the second part of the short that you'll see some modern intrusion. For the most part, the closer we'll
ever get to see from the ancient Egypt and its people, if trying to imagine how they lived back thousands of years ago, comes from this piece and in a
documentary form, far from the creations of Hollywood. It's a nice basis, and a fine picture. 8/10.
The Gorgon's Head (1925)
A small treasure to be rediscovered. Very cute!
As part of a anniversary celebration from The Metropolitan Museum (MET), this little seen silent film was re-released by the museum, as part
of their many rare works kept there. Hard to find who's the director as no name are attached to it except for the players, who make a retelling of
the mythical story of Perseus (Geoffrey Wardwell) and his mission of killing the terrifying Medusa, as requested by King Polydektes (Charles Kennedy),
who uses of this mission as a way to get rid of the boy and marry his mother Danae (Edith Wynne Matthison). Perseus meets the old grey women, the nymphs
and the helpful Hermes (George Blackwood) during his journey and also falls in love for Andromeda (Frances Aikens).
Early days of cinema so there's always that innocence charm, many tricks used the owes to the great magic tricks done by Mèliès (the Medusa head
apperance or the invisibility cape), it's all cute and fun to watch but it's also worth noting that if a film like this somewhat disappeared from view
or hasn't many admirers is simply because by 1925 the art of cinema already had became something more extraordinary and the spectacle of films such as
Chaplin's "The Gold Rush" or Eisenstein's "Battleship Potemkin" were solid proofs that audiences were looking for more while watching motion pictures.
A film like "The Gorgon's Head" was a small thing back then, a way to not let film pioneerism die/disappear. Nearly 100 years-old and today we can look
back with some nostalgic eyes for the innocence of cinema, the artistry involved and everything works in a simple way. Very enjoyable. 9/10.
Head (1975)
"I drew very complicated pictures..."
Artist George Griffin makes a unique and unusual self-portrait that combines a series of techniques from stills, animation, flipbooks, stop-motion, and
film editing which reveals his many facial expressions and also how he views and express himself through different medias. "Head" and its tricks might
not be a great novelty to more contemporary generation who knows all the magic coming from computers and artificial intelligence, but for nostalgic
viwers like me and those curious in seeing a different era of movie-making and art techniques is a work of pure delight, fascination and artistry at
its best, something that communicates a great deal despite its fragmented structure that doesn't contain a particular linearity.
Beyond the mix of images, drawings, editings and animation, there's also the sound effects used which makes this a quite funny work through the
use of a frenetic clarinet music that goes on and off between shots, some quirky piano sounds and some verbal gibberish as two strange faces begin
to "communicate" with each other. One particular that was greatly edited comes with Griffin making some drawings at a filled table and next to him
there's a dark square where a series of his animations keep appearing, almost giving a sensation that we're seeing a tablet on the table before the
actual invention of those. If you pay attention, the artist is not frozen on the shot, he keeps making some movements as the "tablet" keeps
changing the drawings, a quite groundbreaking editing trick at that time.
Not only Griffin was expressive through his art and use of different techniques, he's also expressive through his actual faces both on the
several close-up stills, making funny faces, sometimes blurred but also on the many negatives that interact with each other in certain sequences. A very enjoyable artistic piece with plenty
of humor and charm. 10/10.
Les cerfs-volants (2007)
Uninteresting view of young love during wartime
"Les cerfs-volants" ("Kites") is a TV adaptation from Romain Gary's last novel, with some fine production values but almost no aim to fully conquer audiences.
It has a fine basis to charm audiences with a complicated love story set on France before and during World War II, a fine cast as well but it gets so
unappealing and repetitive while creating conflicts and scenarios about two young people in love who fail to grow with their emotions and know exactly
what they want from love and life. It is a fair and honest portrayal of youngsters in some ways, but that doesn't make a good film necessarily.
It follows a young orphan French peasant (Marc André Grondin) who gets obsessed
by a pretty Polish girl (Gaëlle Bona) who teases him from time to time, and through such connection he finds work as a financial whiz that could help
her crazy rich family to survive the drunk patriarch's gambling losses. Obvious that the social clashes between both doesn't help them in any way, but he
gets support from one of her brothers, and also from his idealist uncle (Tcheky Karyo), an idealist/pacifist postman obsessed with kites and the only
family the boy ever had.
In between up's and down's, the plot thickens when her German cousin appears (Frank Geney), a handsome man who's also in love with her, provoking
a rivalry that will push everybody to the limit as WWII approaches and the three nations will be deeply involved. That's when the saying "all is fair
in love and war" proves itself as they move on different directions, find one another then disappear from time to time, and by that time the young Frenchman is involved
with the French resistance while the other becomes a Nazi officer, and the girl divides her time between both either to test their commitment or just to
provoke some jealousy.
Oh, young love. Usually aesthetically pleasing but not fully formed as the mind and emotions are on development, slowly maturing. So what do we get? A
series of dumb acts of despair, jealousy and unfulfilled needs and desires. Also goes as crazy love, l'amour fou as one of the characters mention early on.
Not saying it's a rule, but it happens more frequently on youngsters and this particular story proves how inconsequential some actions can affect and harm
the matters of the heart in a deep way.
"Kites" wasn't so troublesome with the universal yet cliched themes, the problem lies with a strange presentation of things, from some odd use of
humor that almost turns everything into a comedy when the film already has established a serious tone - when they daydream about their married life with
the rabbits, the sequence pops in very randomly; and then it's all a series of coming and going that slowly becomes a bore filled with one-dimensional
characters. The sequences during the war make it all slightly enjoyable with its twists and turns, even though you could predict everything from the
minute the love triangle was formed.
The only great aspect of it all comes from Tcheky Karyo's uncle character, and he's responsible for all the best moments in the film while teaching
and encouraging his nephew on the matters of life, love and kites. He's always a delight to watch, though he's mostly given villainous role in Hollywood,
but here he has the chance to shine and play a positive father figure that isn't stern or authoritative yet he loves and educates the young man. Grondin
was very suitable as the leading man, but the script made his and other characters all look too childish and annoying at times.
It has its moments but doesn't satisfy as a whole and neither taught me anything new about the complications, the difficulties and the painful
dynamics that lovers and fighters endure when they're in love and need to find ways to mantain it. Maybe it proved that love is blind, dumb, and surely
follows the ones that don't need it yet the heart has its reasons and it can't help by following its stupid beatings. 5/10.
Eric Carmen: Hungry Eyes (1987)
Nice song, manageable music video
A great and memorable ballad from the "Dirty Dancing" soundtrack, the video for "Hungry Eyes" doesn't appeal all that much to convince viewers
in watching the film as it just shows brief moments from it, instead focusing on performer Eric Carmen being tempted by beautiful women all around, including
actress Paulina Porizkova ("Anna", "Her Alibi"). There's seduction, dance routine and the singer observing everything through a shadowy night. It gets all
the right vibes of a suspense movie rather than the romantic/dance experience of Emile Ardolino's classic film. However, it serves the song in a fine manner as the lyrics deal with yearning and obsession for a special individual the narrator feels too much about. Great song but an almost forgettable music video.
7/10.
Randy Newman: Falling in Love (1989)
Cute video, great song
A cute love ballad by Randy Newman, "Falling in Love" has a music video the idea of a composer (Newman) trying to get some inspiration to compose
a love song for a new movie and he dreams of heaven, angels and children playing adorable cupids. The film in question is Bruce Beresford's "Her Alibi", of
which scenes from the romantic comedy starring Tom Selleck and Paulina Porizkova are presented, yet the track wasn't actually composed for the film as the
track already had been released in 1988. But at least they played on the film credits.
A fine concept though a little too much on the nose with its idea of falling (from heaven or in love), that makes us remember some bits from
"Heaven Can Wait", greatly done and a nice humored performance from Randy, just as in the incredible "I Love L. A.". But we're only in it after the song,
one of his finest works of all. 8/10.
R.E.M.: At My Most Beautiful (1999)
A sublime and beautiful experience, music and images
A beautiful view on the troubled and chaotic day in the life of a young cellist (Rain Phoenix) as she tries to get to an important audition
with three conservatory musicians/teachers (played by REM members). On her way there are many obstacles, as she's pushed around by people, misses her
bus, gets water splashed and many other situations that will not make her look good in front of the panel and maybe she won't get on time. But giving up
is not an option as all the great works can only come after some great deal of pressure, either inner obstacles and/or from unexpected exterior forces
that pushes us down and a talent must blossom for the world to see.
The video made a great use of a worn out concept (it's like "Flashdance" but without the dance), far from being the usual humored scenario and investing more on the dramatic aspects of it all
as a crowded and chaotic city throws countless challenges on the lonely girl, as REM guys are just waiting for her to show her musical talents. And "At
My Most Beautiful" is surely deserving of its title, one of the band'd finest and most beautiful compositions, with great melody, use of instruments
and its poetic lyrics. Also love its inclusion on the comedy "Never Been Kissed" in a climatic moment. Nothing more to add except that this marks as one
of REM's most interesting and most fascinating videos where simplicity is the key. 10/10.
Raul Amaro Nin Ferreira: 50 Anos do Assassinato (2021)
A good and informative video on an almost forgotten case
A video documentary on a victim of the military regime and a rememberance 50 years later after his death, the film talks about young engineer
Raul Amaro Nin Ferreira, a little about his brief life and the events surrounding his arrest and killing in 1971. It's strange that his case is barely
talked about if compared to many others we hear over the years yet it's all very documented by the military and mentioned on the book "Tortura Nunca
Mais", released in the early 1980's, and curiously enough many of the paper trail provided by the armed forces, doctors and some registered testimonies
are shown are as veteran actors Paulo Betti and Osmar Prado narrate the video.
Unlike many of the prisoners of the regime, Raul was an active member from any political organization or part of the armed revolution, but was in
fact involved in many important causes on the left and that's how his name came up as a subversive figure plus what was found in his apartment as banned
books. It's an interesting side note that most people don't know it existed back then, the powers of be acted like a fascist state.
Gone but not forgotten, the project was directed by four of Raul's relatives, and its also present here some newspaper clippings related to a
lawsuit against the government brought by his mother, which proves that his case was dealt by the judiciary and was one of the very first on the issue.
For those curious, the whole case was reported on a published study/book which gave origin to the film, so what you get here is mostly a slide show with
photos of him and family, the many documents available about his arrest and death certificate (if you pause at those bits, you can perfectly read many
of the documents as the narration doesn't cover everything. And I'd really like to know what happened to Osmar Prado's voice, it was hard to recognise as
it sounded as if sick and hurting).
A good film on an almost forgotten tragedy, and we're thankful that his family shared it to audiences so they'll never forget the horrors of one of the darkest period on Brazilian history. 8/10.
O Sequestro do Voo 375 (2023)
A great thrilling story that needed to be told
I always wondered why it took so long for such story to become a feature film as I heard about the incident of flight 375 for ages. But it was worth
waiting as the film was amazingly well done in all aspects with plenty of thrills, suspense and it offers a nostalgic view of Brazil in the late 1980's. It's
the true story of the kidnapping of a flight by unemployed rural worker Raimundo Nonato (Jorge Paz), dissatisfied with the country's economical policies
of president Sarney, who decides to throw a plane on the twin towers of Congress, in the capital Brasília, and possibly kill the president and
his cabinet. Armed and dangerous, he takes over the cockpit, shoots the co-pilot and it's all up to an experienced commander (Danilo Grangheia) to try to find a
way out of this dangerous scenario, save everybody's lives and avoid a tragedy.
While it surely falls into the aviation/kidnapped plane routine, the film never loses momentum with its rising tension and the whole commotion both
inside the plane and on the ground with flight controllers, the military from aeronautics trying to control the situation and alert the government authorities.
It's a little repetitive at parts, but it works. Grangheia as the heroic pilot Murilo was a joy to watch and he has the best performance in the movie.
As said, it's based on real events that took place on 29 September 1988 yet most Brazilians never heard about it, except for aviation buffs, curious
minds on the internet, or had the chance to read Ivan Santanna's book "Caixa Preta" which covers three flight accidents (this incident, the 1989 in Marabá
and 1973 in Orly). I haven't read the book I read but an article describing this event, which always made me curious and wondering why there wasn't a film about it all
those years. Outside of that, there's a TV report from one network and that's the best we could get. For those outside of Brazil, you haven't read wrong
an early description of mine: throwing a plane on twin towers (way before 9/11). That was the man's idea, and the heroic maneuvre execute by the pilot, that
horrifying tunneau, that distracted the terrorist, happened, it can be done against all odds, and it is the most awaited moment in the whole movie as done in a spectacular fashion.
Can't say much about the accuracy of it all, but it's obvious that a couple of changes were done here and there and it serves its purpose of telling
a dramatic story, one that gets you from the very first minutes. I positively enjoyed this a lot more than I expected, and here's a solid proof that this great
cinema of ours isn't all that dead, it can offer entertainment and make a nice retelling of a real story.
My disappointment isn't destined to the film but with
the team in charge of its distribution and/or the cinema chains in here, that either didn't make a wide publicity about it (so it's the kind of story destined
to be underseen just as the real one) and it was released on very select theatres which is a pity since this film had the potential of becoming a major hit. It'll get a fair share of viewers on streaming who'll later ask: why I didn't see it when it was released? Well, because you haven't heard about it or it wasn't shown in your area. 10/10.
Três Irmãos de Sangue (2006)
A superb documentary
A gripping and masterful documentary as hardly ever done in recent years in Brazil, "Three Blood Brothers" presents the story of three great famous
brothers, each in their respective field either the arts or social causes yet they all had in common their sense of peace, justice and the fight for a better
development of a nation, who sadly were all united in pain and sickness, losing their lives at early ages due to AIDS brought on by tainted blood
transfusions as they were all hemophiliac. It's the story of cartoonist/writer/TV host Henfil, activist Herbert de Souza (known as Betinho) and musician
Chico Mário and how they influenced a whole generation with their works devoted to social causes, politics and art where they view a nation as it was
and also as it could be.
Through a series of interviews with several of their sisters, sons and friends, we have a portrait that presents a balanced view on their early life
dealing with hemophilia and early developments on their careers, then moving on to political persecution during the military regime (Betinho had to live
abroad for nearly a decade, and how they fought for the return to democracy in their own way, through Henfil's toons (Fradinho, known as The Mad Monks in
U. S. where he tried a career for a short time - if you have the chance, read "Diário de Um Cucaracha" a series of his letters while living in New York), or
Mário's compositions on several songs. The third part is destined to the tragedy of it all with AIDS taking two of them in 1988 on a matter of months between
them, leaving Betinho alone with his famous campaign against hunger in Brazil, a very successful campaign that moved society and he got nominated for the
Nobel Peace Prize in 1994, and he also was an activist on the disease cause until his death in 1997.
It was a story that needed to be told and it was told in a great manner, with a much required sobriety and effect and some humor as well. I haven't
had the chance to see a recent miniseries released with Betinho as the lead character, so the best material to learn about their importance in Brazil
society and culture is through this fascinating piece, which contains many footage of their acts, interviews and musical performances, and even a brief
moment about Henfil's only film "Tanga (Deu no New York Times)?". While I don't like that film, I really loved to hear more about it, either if attracted
audiences back in 1987 or if it was a critical success or not. All we've got was that he was right about the film media being an immortal tool if compared
to drawings made on ink which can disappear. It's not like he says his art as published on countless newspapers will disappear, but the media celluloid is
a little more everlasting.
I was thrilled and moved by every minute of it. Definitely goes as one of my favorite documentaries of all time. 10/10.
A Humilhação e a Dor (1986)
Didatic perspectives on a complex theme but good to watch
"The Humiliation and the Pain" deals with the issues of police brutality and the use of torture in order to make criminals (and even innocent people
who get accused of crimes) confess their acts or denounce their partners or other crimes. It tells the reality of Brazil back in the mid 1980's right
after the end of the military regime, which had that same modus operandi of using terrible acts torture to make political prisoners confess their business
and for some reasons, that same apparatus persistence inside police stations and were recurringly used in order to extract confessions, as if the transition
to democracy never took place. And let's face it: it was a problem then, it's still a problem now but far away from the reality depicted in the film and
many other countries go through similar problems.
In a very didatic manner, the video presents about tortures method used, presenting possible scenarios where it was used through dramatization with
actors (the film could go on without those moments, the acting was cheap and doesn't much to cause an impact on audiences), and it also interviews common
people who either favor the use of force against criminals or are opposed as police enforcement can use of other tatics and follow the law without breaking
it; and personalities such as a chief of police, Catholic Church bishop Dom Evaristo Arns, news reporter Percival de Souza, actor Antonio Fagundes and others
that I couldn't identify sharing their views on the topic. Actor Benjamin Cattan presents the educational part of the video by presenting torture methods, but
it's an almost funny part of it as he sure looks embarassed to be there, stuttering between words.
I liked the video as it is very informative and allows audiences to think about the causes of those extreme reactions by forces of authority, even though
it's more inclined about the opposition against torture. It takes sides so part of the audience won't like it all that much. Another great topic exposed comes
from the inclusion of death penalty as form of punishment, and again all the personalities are against, but some people from the crowd are favorable. When it
got to that issue the film became simple-minded with a constant yes or not situation that even didn't hint about the possibility of a more strict law (the most
a criminal can spend behind bars are 30 years), and it's not brought to the case the application of life in prison which has a great deal of support by many
Brazilian yet the judicial system doesn't want, and lawmakers doesn't want it either. This was done before the new Constitution which changed over the years
but established many of those laws (yet to have a major chance or a new bill gets created). Some wide perspective would benefit the video.
It's a fine project to watch and get some understanding of complex issues despite being treated in a very simplistic manner. It serves many educational
purposes, one of those films that teachers could show in school and develop some debate about it - even though it's nearly 40 years-old, and it works as a small time travel to Brazil of 1980's and see how little has changed when it comes to security and criminality. 8/10.
First Edition (1977)
A brief look inside a real newsroom
A day in the life of the newsroom of Baltimore Sun from the reporters following their stories from the many different columns and headlines all
the way to its printing and publishing. This Oscar nominated short documentary takes viewers to the process of newsmen doing fact-checking, interviewing
people, finding a way to use the right words to the limited space given, and they cover several issues such an intriguing embezzlement scandal; Jimmy
Carter's presidential race where he visited the town; a piece on a baseball team with a player questioning the fact on how news attacks players without
knowing them personally; and some bits and pieces from stories we don't get to follow all that much (which includes a man's suicide) and a cartoonist
trying to get approval on his toons.
It's a small fascinating view on printed media before the advent of internet and curious to see the whole work behind a busy newsroom from the 1970's. It's impact
as a documentary is a little reduced and quite problematic as the cinema verité style didn't help much to get a clean view on those men as they talk over
each other all the time and the sound quality isn't all that good, and if you don't know much about the events covered you get very confused (the scandal
was hard to follow).
Also hurts the experience the lack of interviews with the reporters, we just look at them following their leads, and the only point
of view captured comes from the head editor in a sequence where a foreign woman asks for help from the newspaper as her husband is wrongly accused of
murder but he says he can't help. It'd be interesting to have some insights on how they view their profession, the obstacles they enjoy or not and what
inspires them in becoming dedicated professionals. Honestly, I think the newspaper only made this documentary on a whim to capture some attention on
newsrooms and their work after the success conquered with "All the President's Men", the film that inspired many young people to become journalists. Nothing wrong with that, it's commendable, but with a more appealing presentation it'd be ten times better than it is. Simply enjoyable. 6/10.
A Luta Do Povo (1980)
The people's struggle (A Luta Continua)
Another good entry made by director Renato Tapajós on the worker's movements and their fight for better working conditions and better payments
which erupted in the late 1970's and early 1980's during the final years of the military regime in Brazil. Tapajós covered extensively those strikes
and how the workers from automobile industries and other forms of labor joined their forces, and he made several documentaries on the topic, most
notably "Linha de Montagem". Here in this short, we follow one union that concentrates their efforts in helping the works in getting food during the
time of the strikes, which went on for days, and the many other street protests that happened in 1980 until some agreement with bosses were reached.
Unlike many of the similar themed films, this one doesn't have union leader Lula as main character (except for a couple of scenes). Someone
from the crowd (I think his name was Luis) who had an important part on the workers cause is the one who talks about his task in helping others
and how he and his mates concentrate their efforts towards other common people like him, who barely have anything for themselves but they believe in the workers
cause, they're tired of being exploited by their bosses and the imperialism hands on everything.
Also different from the other projects is that we don't see much of the tragedy, the prisons or even deaths that occurred during those dark days.
It's all a little reduced in terms of what's shown. But, along with "Linha de Montagem", "ABC da Greve" (directed by Leon Hirszman) and "Braços
Cruzados, Máquinas Paradas" (directed by Roberto Gervitz, who worked here on the sound team), they all form a wide and detailed view on syndicates
activism, the union of people for a common goal and how such movements became a heavily influential tool that changed the dynamics between bosses
and workers, and moved society and politics to a more interesting path. Won't say that it was all fair and justice was done as many other strikes
proved to be very unsuccessful. But they tried and conquered many things for the future of workers in Brazil. 8/10.
Phil Collins: Don't Lose My Number (1985)
Another great hit by Collins & Yukich
Phil Collins' smash hit "Don't Lose My Number" gets a highly entertaining music video directed by his director/collaborator James Yukich where
Collins is pitched several ideas for his next music video. The ideas are either tributes or parodies of films, music videos and genres, and included
here are samurai films, westerns, a "Mad Max Road Warrior" scenario (the highlight of the clip), or basic spoof of Elton John, The Cars and David Lee
Roth videos. Plenty of good humor on those sequences.
It's always nice to see Collins having fun while making those 80's and 90's videos, which always allowed him to act a little as some bits of
dialogues are included in the bookends. However, for those discovering the music or those who enjoy the great guitar solo delivered by Daryl Stuermer
it might be a little disappointing as the solo stays in the muffled in the background as Collins and a hungry crew member discuss about the solo and
some ideas for the video. You're not gonna hear it because of the dialogue which includes a funny moment at the end.
Excellent moment for Collins, the music and the video. 9/10.
Nadie Puede Ser Tan Malo Haciendo Café (2018)
Sad and beautiful little story
Despite its title, "No One Can Be That Bad At Making Coffee" is not a comedy. Instead, it's a dramatic piece with some flirting
with romance and many sadness. The same team that brought the short "La Empresa" returns to deal with some similar scenario revolving a man
who can't cope with a new life situation.
Again, I'm gonna have to keep you in the mystery in order to not reveal too much about it. As he tries
to be at peace with himself thorugh meditation and exercise, the character played by Enzo Vogrincic is distracted by the apparance of his girlfriend
(Sofía Lara) and they have a dramatic conversation while reflecting about the distance between them.
It's a fine presentation of elements where audiences keep on guessing what's the exact nature of such sudden encounter, where they are
exactly and why this couple can't be together - the humor on the title makes it more appealing and it's discussed between the characters. As my
Spanish is a little rusty for listening and the version I've seen didn't have captions I may have lost one or two dialogues that could possibly
ease some comprehension of things. But I got its essence and I find it a very compelling story. And again, Vogrincic delivered another great
performance, as he's always expressive and can convey plenty of emotions without saying much. 8/10.