Marguerite Duras & Paul Seban – La musica (1967)

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Synopsis:
‘Marguerite Duras’s La musica, which she adapted from her own short two-character play, is about a husband and wife who meet three years after their formal separation, when they return to the provincial town where they once lived to pick up their divorce decree.’
– Vincent Canby Continue reading

Kostas Manoussakis – O fovos AKA The fear (1966)

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Plot:
A socially isolated young man (Anestis Vlachos) attacks the family’s deaf-mute adopted daughter, whom he abuses sexually and then kills. His parents, even though they discover his crime and are enraged, decide to hide the truth and throw the body into the lake to make it disappear. From that moment on, Anestis lives in fear, and all his actions are now defined by the crime he committed. Continue reading

Seijun Suzuki – Tantei jimusho 23: Kutabare akuto-domo aka Detective bureau 23 (1963)

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Japanese director Seijun Suzuki solidified his growing cult following with this offbeat adaptation of Haruhiko Ooyabu’s crime novel. Jo Shishido stars as Det. Tajima, a smug investigator who nabs a pair of criminal gangs with flamboyant aplomb while the police remain baffled. Suzuki treats the rather hoary plotline as an excuse for dark-humored camp, and young audiences were delighted with his irreverent approach, which made him one of the few distinctive names in the ’60s assembly-line of Nikkatsu Studios. ~ (Robert Firsching, All Movie Guide) Continue reading

Flávio Moreira, Leon Hirszman, Rubens Maia & Luiz Rosemberg Filho – América do Sexo (1969)

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Quote:
Film in four segments: “Colagem”, “Balanço”, “Bandeira Zero” and “Sexta-Feira da Paixão, Sábado de Aleluia”, having in common a strongly allegorical and gross protest tone in the approach of its subjects.

Quote:
Acreditava-se àquela epoca que aliberação política deveria vir juntocom a liberação sexual. “Esporrarjatos de napalm”, a frase de PrataPalomares (André Faria Jr.)posteriormente repetida emCrônica de um industrial (LuizRosemberg Filho) simbolizavamais do que uma metáfora: oinstinto sexual vinha junto com opolítico, e a angústia surgia porque o gozo social era mais difícil do que o individual. No título do filme América” e “sexo”; e sua tentativa é justamente a de exorcizar sexualmente aquilo que não pode ser resolvido no Brasil de 1969, menos de seis meses depois da promulgação do AI-5, ou seja, a política. Continue reading