• O Prólogo

    O Prólogo

    To watch this film from the viewpoint of 2021, thinking it was made in 2013, is in itself an unbelievably tough experience. Film as an object in history reflecting about film as an object in history. And Brazil as a wheel that seems destined to constantly turn around the same axis... forever?

  • Madame Satã

    Madame Satã

    One of those unexplainable moments where everything comes together just right.

  • Kairós

    Kairós

    So simple and old school, it seems like the film is a twin of its main character.

  • The Earth Is Blue as an Orange

    The Earth Is Blue as an Orange

    I think I really wanted to see the film that the family made.

  • Sportin' Life

    Sportin' Life

    Early in the film Ferrara says: "this is a documentary about making a documentary". He had no idea yet how much that would turn out be true - or maybe he had, because he always seems to have. Once the coronavirus pandemic hits, the film had to be retransformed, and this diary of a life in 2020 becomes the perfect ground for Ferrara: a life full of death, and deaths filled with life. The editing brilliantly works shifting through time,…

  • Swimming Out Till the Sea Turns Blue

    Swimming Out Till the Sea Turns Blue

    There is a very specific kind of magic in the way Jia slowly superimposes the oral accounts by his interviewed characters, which talk about small details that increasingly seem to create a detailed quilt of the history of China in the 20th century (at least from WWII) and of the relationship between cities and villages, so central to the country, with images of the present from his city/village, which are just as specific and attentive to details.

    This doubled structure,…

  • Fanny Lye Deliver'd

    Fanny Lye Deliver'd

    "This is not a limited edition, it's an origin story".

    Ten years after his last film, Clay returns with many of the same quirks and limitations. Still having fun with cinema and its fundamentals, constructing shocking moments and plenty of atmosphere, but also both in narration and staying power seeming to undersell complexities for the sake of easy effects. Never dull, that's for sure.

  • The Hypnotist

    The Hypnotist

    Filmmaking as hypnosis and politics as hypnosis. Those metaphors are clearly what really interests the film, but how labored it is to really get to those.

  • 17 Blocks

    17 Blocks

    The early material has a raw "we don't know what we are filming" quality which is entrancing, and also allows cinema to enter spaces it doesn't usually. As the years go by and the film becomes more clearly a "project" and finds its clear dramatic turn (which will not be mentioned here), the material seems to slowly be subdued to its capacity to serve both as "cautionary" and "uplifting" tale, and in come some very strange shooting techniques and disposition,…

  • The Evening Hour

    The Evening Hour

    The first portion of the film is pretty impressive in the way it slowly but very assuredly builds a sense of place and a wide web of deeply felt relationships between a pretty large set of characters. Actor's guidance and cinematography work together in a very classic but nearly flawless way. That's when plot decides to make an entrance, and then almost everything seems to bow down to it, situations are dumbed down, clichés abound and the building of supposed…

  • My Heart Can't Beat Unless You Tell It To

    My Heart Can't Beat Unless You Tell It To

    "Why so serious?" Vampirism as disease has a long history in filmmaking and this doesn't add much since its main possible contribution would be to give it a down-to-earth feel to this family's life but that gets buried under (no puns intended) the very solemnized nature of its framing and acting. There is certainly a level of tragedy and doom which could be achieved but it feels overdone from the start, which doesn't allow it to hit harder at any…

  • Winona

    Winona

    Two strong beliefs hold this one together: that film is evocative enough by itself (and it´s by no means a meaningless choice to shoot this in 16mm) that four girls in a deserted beach is enough to make us feel we've all "been there"; and that the power of fiction (not the one created by the film itself but the multiple ones created by its characters) is such that it can evade time and space and, perhaps, even death. They…