Why I didn't to watch it before? It's C I N E M A.
Perhaps the closest animated film experience to the later film productions of Andrei Tarkovski.
The best version, indeed. There was the Theatrical version on Netflix in Brazil when I saw it, but my first time with Blade Runner was the Director's cut in DVD lend me for a friend. I believe that was the first time I have needed to worry about movies cuts.
The first five minutes, reserved for all the advertisers, excuse me, sponsors of this production, mistakenly marked on this site with ninety minutes, in fact it is forty, including the commercial space, for sure, all of them are worth remembering, from Lages, Santa Catarina, to the world.
I appreciate the comment on a competing site that I found when I was searching for "Tenshi no Tamago" there. I was afraid it was a variation of the infamous twelve episode three minute long anime called "Pupa". I was pleasantly surprised, all the scenes are disturbing, the soundtrack collaborates a lot with the reception of the images with the spectator. I almost felt like in that crowd in the last scene, staring at the woman, the animal, the sky also reflected in the river water amidst the snow-white banks.
I love the retelling of the iconic scene from The Battleship Potemkin, when João Amorim's wife is shot in the forehead:
All the others comments can to talk much better than mine, but I really like Toshiro Mifune character. He's great all the scenes where he are, my favorite is "that baby is me!" on the watermill burning
The most passionate experience ever I had in a movie! The protagonist is perfect, the editing and the choice of scenes are awesome. I finished this crying.
Funny there was only Black and Chrome version on Amazon Prime when I saw it, but it was an "Experience" with a capital "E". It suits both fans of the franchise and those new to this universe from here on out. Witness what may be the best film of the 2010s.
It still says much for me.
One of my favorite things from Radiohead.
C l a s s i c o.
Beautiful and sad. Twelve very sad minutes. The 2D animation technique is very simple, it looks like watercolor at various times. Once upon a time there was a family. I've said a lot.
Very interesting documentary about a person who did everything to achieve his goal, but for financial problems ended up having to give it up. How many do not identify with that? He still had the ability to do it, many don't even try. It is a lesson that takes sixteen minutes of projection, entitled to a lot of avant-garde music from the 70s and 80s, another aspect that I appreciated very much in it, the soundtrack and the archival images. I'm already trying to download the songs!
Brazilian people need to watch this movie. It's a story that only could be told with the animation technics. A great history class and a (sad) realistic dystopia - an president preacher or preacher president is near to happen - in fews parts like Divino Amor by Gabriel Mascaro. Well, awesome voices actors: Selton Mello, Camila Pitanga and Rodrigo Santoro. High impact.
Sérgio Ricardo proto punk at the end of the performance of "Beto Bom de 'Vaia'".
I think that this could be like the Velvet Underground & Nico LP for filmmakers. Every fascinated people needed to make movies because of it.
I really liked all the kitsch melodramatic style here, mainly the score during the chapters titles. Well, just the use of the titles and another colors in it is very interesting. The epilogue was much cliché.
This and 8½ are the Fellini masterpieces that I saw.
Very interesting. I need to watch Age of Gold and Las Hurdes just right now. A movie tells the making of a movie, like Tim Burton's Ed Wood and The Disaster Artist but with animation and some surrealistic flashbacks.
I lost when saw Star Wars reference. LOL I understand why Quentin Tarantino loves this so much.
I miss Divine in this movie but I have so much fun with the portrait of people of the reign and the Peggy and her nurse relationship. Very recommend for all John Waters fans.
Certainly better than Titanic. I need to see it again someday.
"I wish the telescopes didn't just look into the sky, but could also see through the earth, so that we could find them. [...]
We would sweep the desert with a telescope downwards and give thanks to the stars for helping us finding them. I'm just dreaming."
I saw the documentary Nostalgia of Light, about the Atacama Desert in Chile, a place where the sky is so clear that you can see the stars as bright light bulbs, which is why the largest telescopes in the world were built. Almost at the same time as the observatories were being built, one of the bloodiest dictatorships in South American history was taking place. There were many disappeared people buried in the same place where the lenses search for the origin of the universe, just as there are those who search for clues of loved ones who left during the Augusto Pinochet regime.
Between Lost Highway and Inland Empire there're Mulholland Drive, but it's só much better than those movies. Very peculiar but great!
Protagonist carries the film on crutches.
A delightful musical. Entertaining from beginning to end, even if you don't know John Waters, although you will appreciate it more if you are an admirer of this director's work. Very much afraid to see the remake.
"When you look too long into an abyss, the abyss looks back at you."
Friedrich Nietzsche.
What's left of the characters are the bones, which is why Pedro Costa engages so much with the atmosphere and sound of the community of Fontainhas.
There is confusion between fiction and reality that made me very curious to discover other films by this director.
It's more a Pink Flamingos than Salò for me. I need to watch it again (with sound and subtitles this time).
EDIT: Second watched yesterday, with audio and subtitles for all parts, because the variety of language, whether spoken or sung, is as rich as the acid humorous passages/sketches in this film.
When I say that for me it is closer to John Waters than Pier Paolo Pasolini, it would be in this present sense of "randomness" in the use of laughter in the most grotesque way possible - the so-called carnivalesque concept that Mikhail Bakhtin uses from his study of Rabelais' work (Gargantua and Pantagruel). There is the political side of Salò, but in the Italian production I didn't laugh as much as in Sweet Movie.
It is funny and even cruel with the proximity to death in the Katyn camps, but at the end it leaves a bit of hope, with the children coming out of the plastic bags, being reborn.
I think it's my second film by this director. The first was another re-reading of Machado de Assis, the short story "A Causa Secreta" in "A Erva do Rato", with Selton Melo. There there was an author above all readings, here "Dom Casmurro" doesn't escape from Bressane's many peculiarities either. I know he produced a lot of films in other decades of our cinema, there are even several excerpts of scenes from other films of his, like "Matou a Família e foi ao Cinema". I liked that, also the text about Brazilian poets of Romanticism, plus a star by the "featurette/making of" as post-credits scenes. Vladimir Brichta, Mariana Ximenes are great, even Rogério Sganzerla's daughter is here.
