

Quote:
Through its wildly comic, furiously creative, and intensely moving façade, Terry Gilliam’s Brazil ponders a future made to sustain a draconian past molded by inequality. In this dystopia, the rich, having long knelt at the alter of radical capitalistic tyranny, spend their days having their flesh stretched, sliced, and injected with ultraviolet potions, while the working class types, files, signs, and stamps its way through pointless paperwork. Overrun by communicative ducts, coated wires, cement and metals, and magnified, miniature computer screens, the future conjured up by Gilliam averts the familiar prophecy of an anaesthetized, plastic world overrun by rampantly advancing technology. Indeed, men, who see advancing technology as an affront to their fiscal station and take the pecuniary gain of the morbid, perverse 1% as their modus operandi, unmistakably run the future of Gilliam’s film. New technology is expensive; paper is cheap.Read More »