“If you had to choose between me and your mother, who would it be?” Capitu asks provocatively of her problematic lover. Elsewhere, they dance to inaudible music, with their friends, each couple keeping to a rhythm of their own. At times, this depiction of the memories we see one Dom Casmurro commit to paper with a flamboyant pen seems to be an interplay of conflicting emotions – particularly when jealousy raises its head.Read More »
Julio Bressane wrote:
“When I made O Anjo Nasceu I thought I had made my most difficult film, a completely irresponsible film, that space, that vacuum, that nothing. It was a devastating experience for me, a shock. Much, much more than Matou a Família e Foi ao Cinema, which was a well-received film. I think O Anjo Nasceu is still unknown territory, even for me”Read More »
Claudio Carvalho, Rio de Janeiro, Brazil@IMDb wrote:
A dysfunctional family, composed of a prostitute and two gays, one strong and the other fragile and stupid, lives a routine life in Rio de Janeiro. When the slut threatens the other two to stop supporting them, they decide to find an odalisque as an alternative to keep their easy life.Read More »
Quote:
A man, sort of penpusher living in the darkness of books or in a ruined house with his dying mother, watches out for of a radiant, rich young girl. Her father meanwhile seems to organize some political trick with accomplices.Read More »
The pleasure, where it does not end
Love is also time suspended by the word, the language – Portuguese in this case – which invites itself into the body, which hypnotizes them and returns them to a happy flesh. All of Bressane’s staging can be found there, all of this surprising and obvious invention, that is to say alive. In its rhythm, in its editing, in its ruptures, its winks and even its obscurities which we know all come out of the same passion …
A triangle – three beings – suspended in desire, a desire that hangs on all their gestures.Read More »
Documentary about Brazilian pop diva Maria Bethânia, in one of her first shows in Rio de Janeiro. The film also show scenes of her daily life and meetings with other musicians.Read More »
A delicate and tenacious writer, widowed three years ago, engages in frequent conversations with a parrot. However, she’s always observed by a large portion of raw meat.Read More »
Áurea, a solitary teacher, starts a singular relationship with a young man with whom she has a chance encounter. A sensitive soul, she finds herself attracted to his moving beauty which compels her to lose herself. In the days following their first conversation, Áurea displays her feelings during the private classes she’s giving him. This will lead to the revelation of an unusual story from the past that will transform the present.Read More »
Carlos Adriano wrote:
This film caused controversy in 1969, not just for its content, but above all for its daring and sparse approach to that content. Today, it is regarded as a classic of Brazilian cinema. The title of the film was inspired by the headlines of the ‘gutter’ or yellow press. Right from the start the title is literal: a young, lower middle class man kills his father and mother and goes to the movies… to see Lost in Love. From then on the film-within-a-film takes over. Fiction and fact blend into each other and it is no longer clear on what level of ‘reality’ – or of the imaginary – we are existing. The film gets rid of the usual parameters of representation and the stories overflow their boundaries, that usually circumscribe action. In Lost in Love two upper-middle-class girls hide away in a mansion in the hills. But there is also an affair between two poor girls, there are two tormented young men of different social standing, there are references to the political context of the time. To make matters more uncertain, the same actors play different characters. The actions of social violence correspond to acts of violence against the syntax of the film itself: the discontinued and fragmented development, the daring ellipses, the juxtaposition of disconnected elements, the rupture of the sound space. Bressane works on his dialectics of discomfort. Projected onto the screen is a true ‘impression of reality’ and a ‘suspension of disbelief’ in the cinema.Read More »