What ruins the potential of this movie is its failed maneuvers trying to push (really hard) some poetic qualities related to the order of sensations and affects. In the terms or Deleuze and Guattari concepts. There is a rush during the depiction of the sequences through shots that doesn't allow the poetic details invade the images in a natural flow. What really contradicts the film's intention in capture strange and emotional aspects rising through the register of the camera. The film stays in place in between Sean Penn's Into the Wild (2007) and works like Silent Light (2007) or Syndromes and a Century (2006). But the film don't exploit that place in between in order to extract some aesthetical potential, what would have been interesting if he had built the film in that way: exploring the zones of interference between aesthetization of the image and non interference in camera's register.
That problem is a constant in Felipe Barbosa's filmography.
What I point in Felipe Barbosa's filmography is a constant problem present in other contemporary filmographies manifested by different forms, in the works of directors like Xavier Dolan, Esmir Filho, Luca Guadagnino for example. The pressure of efficiency. This happens when the director rushes to reach a result of the aesthetical experience intended by his/her film. So he/her detours of the inicial aesthetical proposal of his/her film in order to built images that rapidly, easily and in a too given way provokes certain sensation or emotion. He/her forgets to explore and to extract in every single sequence, in every single shot of that sequence, the especifics aspects that his/her expression brings through his/her particular aesthetical proposal.
That problem keeps the Gabriel e a Montanha in a place close to travel documentary shows that we watch in television.
That problem is a constant in Felipe Barbosa's filmography.
What I point in Felipe Barbosa's filmography is a constant problem present in other contemporary filmographies manifested by different forms, in the works of directors like Xavier Dolan, Esmir Filho, Luca Guadagnino for example. The pressure of efficiency. This happens when the director rushes to reach a result of the aesthetical experience intended by his/her film. So he/her detours of the inicial aesthetical proposal of his/her film in order to built images that rapidly, easily and in a too given way provokes certain sensation or emotion. He/her forgets to explore and to extract in every single sequence, in every single shot of that sequence, the especifics aspects that his/her expression brings through his/her particular aesthetical proposal.
That problem keeps the Gabriel e a Montanha in a place close to travel documentary shows that we watch in television.