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An error has ocurred. Please try againMonalisa thief Vincenzo Peruggia (8 October 1881 – 8 October 1925); journalist William Monroe Trotter (April 7, 1872 - April 7, 1934); military Filinto Müller (11 July 1900 - 11 July 1973); painter Nair de Tefé (16 June, 1886 - June 16, 1981); sportswriter Martin Manley (15 August, 1953 – 15 August, 2013); terrorist Yakub Memon (30 July, 1962 – 30 July, 2015); criminal T. Eugene Thompson (August 7, 1927 - August 7, 2015); author Victor Thorn (August 1st, 1962 - August 1st, 2016) and Lula's mother-in-law Vani Terezinha Ferreira (October 28, 1940 - October 28, 2020).
Criteria: below ten titles, only counting films and TV films, and with less than two known works (that's why you won't be seeing Heather O'Rourke here, just an example).
Reviews
Fito Páez: Track Track (1987)
Dark, somber, beautiful. Fito at his best!
Like many, I got to know the song thanks to Paralmas do Sucesso version in the early 1990's and also their clip. But when I heard this
version many years later and noticed how dark it was, compared with the cover, something intrigued me, conquered me and I end up hearing the full
album by Fito Páez, "Ciudade de pobres corazones". How is it possible that one particular song with same lyrics (different in language but nearly
similar) could have different outcomes, meaning, ways of expression through its sound? If Paralamas brings a soulful, hopeful and enthusiastic
shout to life, with Fito we have a cry and a despair where everything feels wrong and "Dá-me tu amor, solo tu amor" ("Give me your love, only your love")
goes as a desperate plea for love amidst the problems, one last fire burning: to find hope. Yet, despite the differences, both version work in a spectacular manner.
I don't need to go about how that dark and edgy 1987 album came out and the horrible tragedy that happened in Fito Páez life that brought to
a major shift in his sounds and lyrics. But please, do listen to that album, it's amazing. The promotional video made for "Track-Track" is very basic
while selling a man trapped into an insane world. It goes in a repetitive manner where Páez appears performing the song while clutching himself on a
fence; him holding a strecher on a mental institution with a corridor that seems to go on forever, on top of that stretche he appears on a TV (that
previous image), and only at the end we have a break from those patterns as we see the man performing with his band.
As a great mind said "Make your pain and turn it into art" and I think Fito did that, he really immersed himself with everything going around him, pain,
agony and rage and threw it all into a mix that reflected his hurt, possibly questioning his own sanity. If the imagery of it all looks confusing,
chaotic, ugly and very dark with its blue tones everywhere, there's reasons for it. He fights with the fence while singing, and he carries the stretcher,
at times helped and other times all by himself to the point of vomiting in one shot, and it repeats over and over while small changes. The inner chaos
of living in a violent place that repeats itself time and again, in a suffocating manner, that the few sane minds can only think, cry and plea for just
a little love, something to make them going on living. This video captures the spirit of its lyrics, the feeling of it all without borrowing its elements
from it. It's perfect, and the song is quite unique, memorable, hearfelt and the sounds of everything conquer very easily. Latin America at its greatest. 9/10.
Spandau Ballet: Communication (1983)
Fun music video
This almost obscure track by Spandau Ballet got a pretty decent and fun music video to watch with its confusing yet appealing storyline
revolving on private investigation, some mystery and action, and lots of chases. "Communication" should have a wider audience, not sure if it
had one back in the day except for the band's fans after their smash-hit "True".
A fun video, acted by the band members, with some classic touches
from crime/thriller films of the period. But, what sells the most is the catchy song, a very underrated song that escaped the radar of many listeners
out there. One of those songs that are easy to like. 8/10.
Pixies: Here Comes Your Man (1989)
A successful and memorable video
The creepiness of its presentation, editing and effects are also part of the charm of "Here Comes Your Man" video, which obviously includes one
of Pixies greatest hits with its colorful sounds and lyrics. Not sure how it stands out today, but growing up and getting to know the band with this
crazed idea was really something some years ago.
A band performance with mismatching sounds, as Black Francis does not sing the song and he just
moves his mouth forming a big "OH", or band members appearing with enlarged foreheads and faces, moving in a slow manner at times - all creepy but funny as well. It doesn't have
anything to do with the randomness of its lyrics, but the unusual factor works with brilliance. And if the song got its success (Pixies biggest), is
thanks to a colorful and amusing video like this.
A true classic from the late 1980's, and the word classic is not used lightly. It was that big of a deal
(no pun intended on Kim). 9/10.
Chvrches: Over (2023)
Catchy and enjoyable song
If I ever have to be greatful for internet or music app advertisings then I have to be very thankful as one of those annyoing ads brought me
to this fun-sounding song. Around 2023 and a certain app had a repetitive promo with the chorus of Chvrches "Over" but without telling who was performing the song. I tracked it down, and somehow I got hooked by it because of the promo, as the song was catchy. What came after hearing it fully and seeing this video was a song
that not only has some 1980's style (of which I love) but also some reflective lyrics as well. It goes with a sad and tired intent with its wording
but the sound, the beat of everything makes it up for a pretty song to dance.
The video is alright giving the appearance of being
without cuts, with the group performing on a strange scenario that from the upper view it makes it look as if they're small figures on a keyboard. Nice
drone usage too that gathered some nice visuals.
I'm glad about the ads - though I hate its excessive repetition. But, without it, I'd probably wouldn't know about the music or it'd take ages to finally get to know it. 8/10.
The Cure: Pictures of You (1990)
Powerful song, unique video
For a long time I was intrigued on why the video for "Pictures of You" had to go in such a strange fashion of elements. Here, The Cure performs
the track on a snowy hill that goes from daylight to night-time with snow falling harder as hours go by. Besides their act, at times a man with a
camera films them all, and there's a person wearing a white bear costume, moving around in the background.
Like me, you may ask, what does has anything
to with a heartbreaking song about nearly faded memories of a lost relationship? Well, it doesn't have anything to do with it, and in fact, it doesn't even
sell the song all that greatly except that you can almost find some connection. Since the concept moves from the idea of a band playing together to more
playful times, and when the camera pans back to reveal the natural space and instead you can spot a designed set, it relates with the "I almost believe that
the pictures are real" bit from the lyrics, and snow in description and etc. I love its atmosphere, its quiet moments and how it was shot by Tim Pope
with a series of Super8 cameras.
Crazy to think that it got away with its 8 minutes long, as back then videos had a "ruling" in order to get some airplay and a few ones
succeed it greatly, but it's such a powerful song that whatever video could made it'd still cause an impact. Another remarkable song from
"Disintegration", the perfect Cure album, in my book. 8/10.
The Cure: Fascination Street (1989)
Another good performance by The Cure
A powerful song from the spectacular "Disintegration", the video for "Fascination Street" moves in mysterious dark ways, like many of the
produced videos to promote the album. A routine performance from the group with a dominating static, reduced camera movements and Robert Smith is featured prominintely in close-up shots, singing the song. Controled used of lights in the small set that makes us imagine the song title as there
are signs and a phone booth in the background. Nothing wrong about it, except that we don't have some artistic presentation or something that sticks
in your mind like many previous Cure clips. But that bassline kills me everytime. 7/10.
Pixies: Dig for Fire/Allison (1990)
Unusual video medley but okay
A little unusual seeing two singles in one video and composed with the intention of being a medley from one idea to another, giving the
appareance of one take - the final shot of "Dig for Fire" as Pixies is walking out to a stadium opens for "Allison". I only knew the latter song
and video, as it was played solo on music channels; the first song didn't impressed me at all as it's too repetitive; "Allison" is a favorite of mine
with its quick mode and it feels like a sitcom theme, very fun to hear.
The first bit revolves on a motorcycle theme, some strange imagery that later has the band members walking out to play the second song and
that's where the act becomes interesting, as each of them play their instruments very apart from each other, forming a circle inside the huge
football stadium. Okay video, but far from the spectacles of mismatched sounds and giant foreheads shown in "Here Comes Your Man". 6/10.
La triche (1984)
A seductive and reflective thriller
A superb, nearly brilliant crime thriller about a forbidden love affair, the false moralism of an apparently open-minded society and a man
torn apart between his stable family life and his male lover, a possible suspect on a murder case. Yannick Bellon's film deeply explores the
ambiguities of life, romance and sex in a reflective, open matter, at times humored but also very dark.
Police comissioner Michel Verta (Victor Lanoux) is called to investigate the mysterious murder of a gay emcee at the Bordeaux docks. At the
club the old man used to work he meets Bernard (Xavier Deluc), a young musician very acquainted with deceased, and soon after questioning a fascination
takes hold of both. Though Michel is a happily married man, he isn't new to the game in meeting men for sexual relations, and we're told of that right
from the very first scene and the story is very smart and keen in showing that he deeply cares for Bernard rather than using the young boy as a bait to
catch a killer. This isn't Friedkin's "Crusing", but it easily could be.
Instead of deeply involving us with the investigation, the film focuses on how those two can keep their relationship of a low-profile in order
to not attract attention to a prominent and respective figure as the inspector is, also a very careful man since his other affairs were always one
night stands that no one suspect about. Yet, he loves his wife and daughter, and his job, but he also knows that Bernard has that special quality
one longs in finding on a person and he cannot imagine a life without him. And there's a killer on the loose and the musician might know who he is,
so there's danger all around as they become more and more intimate.
"La triche" ("The Cheat") is a very gripping film, no question about that. Lanoux and Deluc are incredibly talented performers and their scenes
together are easily the best moments in the film, both in dialogues and intimacy. It's a very seductive and potent film about the problematic and differences between love and passion, real commitment or just mutual interests
and the line between all those elements could fool a smart man like Michel, and confuse an impressive streetwise like Bernard. And if there's one great
topic debated with a fine intenstity here is the question of sexuality and how labels should never been applied to a person, as Michel's family have
trouble with a proper definition when the affair is revealed. And the big question thrown at us: to cheat on himself in order to live a reality one does
not completely like, or to throw away everything, to have real love but also feel as an outcast?
But it doesn't go without faults or things that needed a better
presentation. I liked the fact that the crime and the investigation ended up being on a second plan, as the problematic love affair is far more
interesting to follow. But the problems arise on both ways as 1) it almost feels as there wasn't a clear motivation for the murder; 2) showing
the killer right from the get-go hurt the mystery of it all, as I believe audiences would love if Bernard could be the one; and 3) the total lack
of audacity in showing the couple being really intimate.
They don't kiss at all, and the two bedroom scenes shown gives us almost nothing. For a film
that dares to walk on controversial themes (at the time), the director made it all too clean and cute, there was no risk. And it's not a matter of
being a 1980's product, as the previous year French cinema had the sexual audacity from "L'homme blessé", a film that I didn't like for countless problems but I
liked the scenes of sexual nature. Mrs. Bellon's film gives us some moments and nude photos from a magazine, but we have to believe in the male couple and their talks, rather
than the physical contact.
A true glorious film, exciting and thrilling, and very easy to recomment despite many downbeat elements (but those one could see a mile away
as true products of its period. I just felt it was a little too rushed with its conclusion). 8/10.
Le juge (1984)
A decent and honest dramatic thriller
Inspired by real events, "Le juge" ("The Judge") tells the story of a hard-working honest judge (Jacques Perrin, "Z", "Cinema Paradiso") in his
quest to bring a powerful mobster (Daniel Duval) to jail. This isn't your typical judge who stays only in court to hear the case and convict the person,
as he also goes to questionings, take depositions and assists on manhunt for suspects and witnesses along with a ruthless and more seasons police
inspector (Richard Bohringer).
Philippe Lefebvre's first cinema film is a raw, realistic and honest look on the challenges faced by the judicial system and the police system
while trying to bring criminals to justice, facing perils, technicalities brought by influent lawyers who'll always find ways to save their clients,
and threats from all comrades, as evidenced by a superior of the judge who keeps questioning his methods and preventing from doing his job. It's the
kind of game that even when winning and making a society more safe, it doesn't bring a total sense of peace. The cops go, detain the suspect, evidence
is found but when it's time for prosecution and condemnation, there's always the risk of justice not being served for whatever reason. The judge knows
his system and its flaws, but he tries very hard to show that no one's above the law, even if he has to risk his family and his life safety.
It's a quite effective dramatic thriller but far from memorable as the theme is practically worn-out by now, and done with more gusto. It works
a great deal thanks to a honorable performance by Perrin, always a pleasure to watch, and the glorious presence of Michael Lonsdale playing a drug dealer
who refuses to rat on his mates. The few thrilling sequences shown are a delight to watch with some fine car chases, and the attack on one of the potential
informers,is also brilliantly executed. But it's more of a dramatic work that becomes a little repetitive, and for a time you always feel hopeless that such
big case will come out as the mobster is a very clever man, and his lawyer even more daring with his debates with the judge.
It's very downbeat but it's completely honest in what it has to show. It's the kind of thing you'll always hear on the news if you follow
particular cases here and there. As for Perrin's character, you can count on your fingers how many judges tried to act like he did in the movie, a
man full of integrity and some recklessness, deeply involved with his work and who tries to keep things by the book, with some unorthodox ways but
always bringing results. It's the hero we needed, but one we hardly ever get. 6/10.
Mike Oldfield: Étude (1984)
A unique soundtrack video for "The Killing Fields"
A quite unusual surprise of a music video, this one for the track "Étude" composed by Mike Oldfield and used as part of award winning film
"The Killing Field", sells the film, the music theme and its own particular art as it does not revolve exactly by just showing clips from the film
as soundtrack videos tend to show. Instead, we have a unique concept where a lone Asian child watches the film on TV, then later on a bigger screen
on top of the TV, and he also observes a series of black-and-white photographs that ends up displayed around the nice apartment.
The tense and dramatic clips from "The Killing Fields" and the art of photography (one of the central themes of the film covering journalists and photographers covering
the Khmer Rouge massacre on Cambodia) contrast with great effect with the image of the peaceful kid observing the chaos on the screen while the tidy place is all peaceful and
quiet, except for the oriental-like theme playing in the background. It's a fine theme, presented in one of the quietest moments of the war/drama film, but if I had to choose
one of Oldfield's themes from it to have a music video made for it, I'd choose the nerve-wrecking "Evacuation", a track that I grew to like and pay more attention in subsequent
views of the film and outside of it as well.
Typically, instrumental music score from films don't get the chance to have clips made for it, outside of fan tributes on the internet. This one was done way back, Oldfield's
team and they manage to accomplish some great results that leave audiences curious in seeing Roland Joffe's film and also enjoy the beautiful composition by Oldfield. 9/10.
Aumenta que é Rock'n'Roll (2024)
Charming, fun and nostalgic picture. A Maldita is alive!
Five years on the run and it was worth waiting (I've been hearing about it ever since the pandemic when there was never a year of
release attached to it). "Aumenta que é Rock'n'Roll" chronicles the development of radio Fluminense FM with its brodcast of rock music in the
early 1980's when the genre wasn't so popular but always had a loyal fanbase. The programming not only included English/American classic rock, but
it also launched the careers of Brazilian rock artists such as Cazuza, Blitz, Legião Urbana, Paralamas do Sucesso, among others.
A Maldita ("The
Damned) as it was known, was idealized by two youngsters who wanted to change the music scene, to present what the youth generation of the 1980's
liked, thought and consumed. They were Luiz Antonio Mello and Samuel Wainer Filho (Samuca), played by Johnny Massaro and George Sauma, respectively, two
rock enthusiasts that were offered the opportunity to bring something new to Radio Fluminense on the FM waves and bring audience and profits to
the station which was falling apart both in audience and its precarious installations of broken windows and faulty equipment. As novelty, Luiz has
the fixed idea of not repeating songs during broadcast on the course of a day, and he only hired female broadcasters, a rare feat at the time (even
today, I must say).
What comes is a series of humor and drama revolving on Luiz and his team finding ways to charm audience, his boss and potential sponsors
doing so much with very little. And also time for a little romance with Alice (Marina Provenzzano), a stubborn but hard-working broadcaster. It
serves its cinematic purpose, but I didn't care for it all that much.
The film's greatest asset comes from the period depicted (1982-1985) and how music, society, culture and politics went through a tremendous
multitude of changes, and how that little radio was part of that, later on becoming a phenomenon when they get the opportunity to cover the first
Rock in Rio. It's an authentic film, and very idealist when it comes to its depiction of that youth, and it's done in such a charming, nice manner
that one would want to be part of that, or have that kind of similar experience where you suffer with countless problems, little to no money yet you
have all the best comrades, and you have fun while doing everything.
It's not like it's showing anything so wildly new to the genre of biopics or the radio media, but it certainly charms the audiences very
easily, and once you're invested in it nothing can stop you from enjoyment. The appeal it got me was in witnessing the early days of the many bands
I love to hear, the soundtrack from many hits from the decade and the new themes composed by Dado-Villa Lobos; and it's all done with great enthusiasm.
Plus, it was an untold story that needed to be put on screen.
You care about the characters even when they're being totally erratic, and there's plenty of room for laughter (my favorite bit is the broadcast
with the hot mic on and the female broadcasters are trashing their boss and talking about sex toys, much to the despair of everyone). The wholeheartedly
speech made by Massaro when presenting the project to his staff, the importance of being considered "damned", a contrarian, is also another fun
highlight, just as the superintendent character played by Orã Figueiredo, the serious guy in the story, who has some funny bits, and he's the one
that despite apparent opposition, deep down you know he trusts Luiz and believes in his passion for this new radio.
To those who lived the era or are enthusiasts of that particular musical scene, it's a must-see film without regrets. But a warning: there are
a couple of anachronisms that might bother the most careful viewer, some were done as an artistic licence but others were mistaken done during
editing and/or lack of better research; or maybe bother with the cliched acts of the rock artists featured. All in all, a very nostalgic time
travel to the colorful dreams and ideals of freedom, expression, love and, obviously, rock n'roll. 9/10.
Snow Patrol: Open Your Eyes (2007)
My eyes were wide open!
One must give some credit to the editor of this video for Snow Patrol's massive hit "Open Your Eyes". He basically went after an almost
obscure short film directed by Claude Lelouch in 1976 ("Rendezvous"), put the song with Gary Lightbody's voice and the band playing as soundtrack,
and somehow the idea of such combination worked to a great effect.
Some memories of mine: back when the song came out I had a real contempt for it as it was awfully repetitive in an irritating manner, and it
was playing everywhere (another memory comes when Warner Channel used for the trailer of whatever season of "ER"). But when I saw the intriguing
video to promote the song, the endless continuous shot from inside of a car running through the streets of Paris without stoppping, as if there were
no traffic lights, I was conquered. I always dreamt of seeing such thing in a film (back then I didn't know too many movies and my point of similar
reference was Polanski's end credits for "Frantic", also shot in Paris), and to see places I don't know in a touristic manner. That kind of observation
is fascinating and appealing to me. Cut to a decade later and I find out that it was filmed way back in time, the editor just put the music.
Yet, it all fits. Obviously that a Parisian person will know to identify what changed in the place (if it did), but the film is in such great
quality that one thinks it was made in the 2000's. My view of the song and such images goes to the sense of longing for a special someone, the ways and
miles run to reach such person and be with her/him. So, it's because of the clip that I end up enjoying the song a lot more and that's how you
"create" something remarkable for audiences, you change perceptions and come up with something meaningful, memorable, poetic and romantic.
That
editor knew how to generate something and choosing Lelouch's film to the song was key. Without that choice, it'd be another video of a band
perfoming, or maybe some storyline that would tell the emotions right on the nose, too obvious. Here, we have a perfect combination of elements. 9/10.
Marillion: Kayleigh (1985)
Memorable and cool song
One of those music videos from the 1980's where the music was so special, cool, great to hear over and over, that you could get away with
showing anything that it wouldn't affect anything, it wouldn't cause any major difference. It's a small video consisting of lead singer Fish
and Marillion performing "Kayleigh", with some small acting bits where Fish interacts with a beautfiul woman, as a kid interacts with a girl
giving the notion that their childhood friends that always loved each other but both parts end up breaking each other hearts.
It's cute and alright, but we're only in it for the song, a true classic from that decade and for Marillion as well (to become a known name),
which also popularized the name of many baby girls
ever since - I also remember the name because of Amy Smart in "The Butterfly Effect".
It's greatly filmed too, and it contains some visual
references from what Fish expresses with the lyrics, as there is a chalk-heart (melting) on a playground wall, and a few others. It's a delicious
song to hear despite the break-up theme. Pity that a bit from the guitar solo was cut from it (and many radio stations use this exact video version
on brodcasts).
Maybe with a little story presented, even if done in those cheesy 1980's way, it'd be a more memorable video. But I'm totally fine what
what I got. 8/10.
À Meia Noite com Glauber Rocha (1991)
A curious and fun tribute to two great artists
Highly interesting and appealing tribute to two artists in their respective fields, and made by a filmmaker who knew them both. Ivan Cardoso's
experimental tribute to filmmaker Glauber Rocha and artist Hélio Oiticica combines several clips from Rocha films (and other titles too), Hélio's appearance in the short
"H. O." directed by Ivan, presenting the amazing similary both artists expressed with their works, their views on art and Brazil as well.
The famous passionate
speeches (ramblings to some) of Glauber on the state of cinema and art in Brazil fill the sounds as we watch a series of his classics such as
"Deus e o Diabo na Terra do Sol", "Terra em Transe" and many others fill the screen in a crazed but curious manner - as the man and his films were; and also Oiticica's view on
the creator of art and what he's trying to accomplish with his art. Also good to share that Glauber directed Hélio in a couple of films as well,
so they had a friendship, and sadly both died less than year from each other (Hélio in 1980, Glauber in 1981).
Those who enjoy the works of both artists or ones who like to take a look back at the state of Brazilian visual arts we'll find in "À Meia-Noite
com Glauber" a very interesting and artistic piece. But I wonder why Cardoso only mentioned the film director and not the artist on the title. 8/10.
H.O. (1979)
Hélio Oiticica shows his art
An experimental and artistic look at the work of artist Hélio Oiticica (1937-1980), a known representative of the Neo-Concrete Movement,
which proposed that art wasn't just an object and it challenged usual conventions of what is about and what could be done with.
With the creation of his Parangolés (capes, flags and/or banners made with fabrics and plastic that included poems or social/political quotes)
used on dance performances where the spectactor
can join the act. Here, filmmaker Ivan Cardoso captures some of those performances, some of Oitica's view on art and the idea of being an inventor,
and the short also introduces his artist friends on brief meetings and music bits from classic sambas and even The Rolling Stones.
A more versed crowd on Oiticica and his works will find a great source to admire him and fulfill their curious minds about the man and his
works, specially those who enjoy experimental works where the intention is merely to present everything in a non typical fashion or a highly
elaborate manner. Also a great opportunity to see the artist outside of his experimental shorts done during his New York days, and meeting
with Lygia Clark (also part of the movement), Caetano Veloso and others. It marks his last project while living, soon after his return to Brazil in '79
he passed away in the following year, from a stroke. If the controversy about his return were truth, revolving on dealing with authorities heckling
about his sexuality, no wonder why he got so sick.
If following the exact idea of the artistic movement, depending on how you absorb that craziness of it all with a lack of cohesion in
its presentation, the better you feel the experience. It's not about finding a meaning, it's about how everything shown appeals to you and
the feelings that are taken out of you. I'm okay with that as I enjoyed the mystery of it all, and many of Oiticica's talks about what he was
trying to conceive and trying to be. All valid expressions of an artist and creator.
But it wasn't a case of being deeply invested. The sound goes to some atrocious noising, and that fixed notion of wanting to
understand anything is hard to be conquered. Let's just say I wasn't bored by it, therefore it gets a praise from me. 6/10.
'Amadeus': Music from the movie Amadeus (1984)
A sublime, rich and glorious film trailer
The story goes that Orion Pictures didn't have much of a budget to make a trailer for "Amadeus", so instead they worked with the concept
of mixing the greatest musical talents of the 1980's (and a little back) and establish a comparison with the theme presented in the film, the music gods of the 18th century.
What do you get from here? A fascinating tribute to countless MTV music videos that puts Michael Jackson, Madonna,
Billy Idol and many others, along with stars F. Murray Abraham (Salieri) and Tom Hulce (Mozart), and the extravagance of both worlds resulting in a fun
and memorable spectacle that greatly sells the film. Classical music was exactly like pop/rock, world domination case and the artists got treated like
rockstars (power, fame, money and debauchery). If you haven't seen "Amadeus", give yourself a chance to witness the marvel of a movie made
by Milos Forman, adapted from Peter Sheffer's play.
Back then, it was just a trailer that connected with some parcel of the audience - sadly, it didn't help all that much if we consider
that "Amadeus" only got a brighter momentum after the Oscars, and even so it didn't get a massive box-office. To the audiences that came later,
it's a fascinating and colorful look back at a period when MTV was king and music videos and film trailers mattered a great deal. And considering
that film trailers are rare here, this one is a true knockout and one of the greatest ever created. Just a pity that the copy available on the net is on a very poor quality - but it doesn't ruin any enjoyment. 9/10.
Lucidity (2017)
Some dreams are wilder than others...
"Lucidity" challenges viewers into the wild possibilities of controlling one's subconcious and how they could reflect into our awake state -
if possible. The teenage hero of the story (played by Johnny Berchtold, from Netflix's thriller "The Passenger") attends a class by a very
eloquent professor (Kris Black) who teaches about some experiments that students could do right after dreaming (take notes, create some
pattern with something from your life, etc). The timid boy's dreams revolves on a pretty girl (Tetiana Donets) he has a crush, and her jock boyfriend
(Trevor Roszkos), who always end up beating him. But, can things really go different for the better or for worse?
Very easy to like as it deals with one of the major mysteries of mankind (the power of dreams and how our subconcious work, positively
or negatively), and one topic that attracts with many people out there and many great movies had been made about it ("Inception" and "Jacob's
Leader" being masterpieces). The trick here was way too quick but effective, as the story unfolds yet it doesn't answer much about what's real
and what's not. Very subjective depending on the viewer. It all feels like a trailer for a potential film and I'd like to see that happening,
with expanded scenarios, obviously, and the great Berchtold as the lead again. He's really good at playing tormented characters who express plenty
without saying a word. 9/10.
Hi-Fi (1999)
Enigmatic but highly interesting
Words can't describe the experience and the greatness of Ivan Cardoso's "Hi-Fi" as he combines many art forms into one piece. There's
music, use of sound effects, dialogues, bits and pieces from poems and films such as Rene Clair's "Entr'acte" and Orson Welles' "Citizen
Kane", dada art and others. Anyway, it's chaotic but it's appealing, mysterious and greatly composed. It's one of those cases where one tries
to find some meaning, or maybe dig deep into what Cardoso could possibly be saying about life and art, but one might not find anything but
a random gathering of elements that don't make a whole. It's more about feeling than thinking but all criticisms are valid.
I was incredibly impressed by such composition as they fit well together, despite the different decades each art work was composed.
It feels as if being made ages ago, but it was edited down and inserted with new images in the late 1990's. "Hi-Fi" is one of those pieces you
imagine being played out on a large screen at some art gallery or even could be used as a background scenery to a nightclub or some wide space
for a party since one would experience a great showing where guests could analyze the images, enjoy the sounds and absorb everything about it,
and discuss it too. The variety of thoughts and sensations shared with another person would be interesting to hear.
A very expressive work with a curious fusion of elements, art beyond thought. 8/10.
O Baiano Fantasma (1984)
Watch "O Homem que Virou Suco" instead
To quote Godard, "To best way criticize a movie is to make another movie". Since I cannot do that, I must assume director Denoy de
Oliveira did exactly that when he made "O Baiano Fantasma" as he told almost the same story as the one told in "O Homem que Virou Suco". And
he used the same leading actor José Dumont as a simple Northeast man who moves to São Paulo to pursuit a better life condition but instead he
gets involved in some shady business and gets confused as a criminal hunted by the police. Godard isn't wrong with that idea as it has been
proven that similar themes are often reworked, sometimes it works and other times it doesn't. This 1984 film was wronged in almost everything
that the 1980 succeed.
By turning Lambusca (Dumont) story into a wildly crazed comedy without some drama and relevance to life, we simply don't care about
anything that happens to him or the other characters. It's not as if the situations were unbelievable or ridiculous, neither a case that it
tries to make fun of things that aren't funny. It's simply not funny and it's hard to get a decent laugh at everything. The only amusing bits
revolve on whenever the jurídico ("legal") team is called upon. They're not lawyers, they are a team from the debt collectors scheme that is
used whenever they need to roughen-up with all the customers who won't pay their protection fees. Lambusca ends up working for such team
and because of that threat a man end up dying from a heart-attack and trouble ensues.
João Batista de Andrade's film "O Homem que Virou Suco" is not mentioned lightly by me. It offers a humored yet dark, realistic and almost
fantastic view of the countless problems faced by Northeast migrants living in São Paulo. It shows how gritty the cultural clashes are and makes
many valid statements about the different regions. It's very memorable and fun to watch, unlike this forgettable film that avoids the cultural
clashes and just gives stereotypical characters all the time, even the ones who are from São Paulo are mere charicatures of some variation that
doesn't feel right, others aren't presented in a good manner, like the Italian merchant played by Renato Consorte (him and the tough guys singing
some Italian song were funny). And Dumont was brilliant in that movie; here he's just okay but Gramado folks liked him enough to grant a Best Actor
award.
I liked the presence of Rafael de Carvalho (in one of his final films) as the lunatic character
he plays is someone we feel sorry, as he felt duped by all the progress from the big city and went literally crazy simple because some authority
took away his "peixeira" (big knife). "Back in my city, everything was solved under the knife. Here, they said the government would take care of
everything for you and I wouldn't need that knife" he says at a given point, or something similar to that effect. Without the knife, he was a
nobody drowned with problems and could no longer react to the new reality around him. One almost think why he just didn't bought another knife,
but that's beside the point. It's a small character that doesn't affect Lambusca or anyone, but it's such a powerful old man that if the movie
was done about him we'd have something great to watch.
If Denoy's idea was to make something lighter than the other film he didn't succeed. Without the comparison, just the film by itself, does
it work? It might but only for those who enjoy cheap humor, dialogues that go by slangs for almost its entirety, or those who don't like deeper themes
being worked. Won't say it was so terrible but it didn't improve the mood of a day, neither made me care or laugh about its goofiness. This was just situation comedy and going for the laughs, no elevated social criticism. 3/10.
Jim Diamond: I Should Have Known Better (1984)
Nice ballad and video
The ultimate song dealing with a man saying sorry about the mistakes he did in the relationship with his girl/wife has this video on
that mode, as we follow a record producer who worries about his wife and kid, the time spent apart of them as he probably did something wrong,
and now he's torn apart with many sad feelings and thoughts, as he watches Jim Diamond and group perform the music to include on the album. Yes,
that man should have known better...
It's a really corny video clip, but kind of cute as well and the idea sells great and quite imaginative as it sells the artist along with
the idea of a little story revolving one someone from his crew (sure, we have the actors but for a moment we can imagine that Jim knew someone in that
situation, which inspired him to write the song). I won't say I'm a big fan of the song but I tend to hear from time to time and enjoy it greatly, as Diamond was an amazing performer, also known for his work with "PH. D."
Thumbs up to the video and music - I'd like to know who were the actors, as they were all great. On a downer note, I rewatched the
video on the singer's official channel, and they used a different version of the song whose sound was so crystal clear and different that it
"killed" the enjoyment for a while. The original sound, those drum echoes and the synthesizers effects do not appear on that version and it's
a shame. If you have the chance to hear the original on some video compilation, the album version or maybe dig deep on the web you know what I'm talking about. It's dated but it's cool, the true sound essence of its era. 8/10.
Garota Dourada (1983)
Inferior than predecessor but still quite good
The sequel from "Menino do Rio" brings back some of the characters from the previous film, also directed by Antonio Calmon. Here,
surfer Valente (André de Biase) was abandoned by his wife Patrícia (Cláudia Magno) is things cooled down in their relationship. Along with their
daughter, he travels to a Florianópolis seaside town, along with his buddy Zeca (Sérgio Mallandro), a rock-star who's trying to get away from his
crazed fangirls. Trouble for both appears when the beautiful Diana (Bianca Byington) comes along and falls in love with Valente, but she's disputed
by a local rival (Roberto Bataglin); and one of Zeca's fans managed to track him down to declare her love for him, a nerdy girl played by Andréa
Beltrão.
The film follows the same high-spirits and humor from the previous entry, plenty of surfing and aerial sports sequences, humor and romance
all around, and two guys fighting for one girl's love (if we count Valente's wife it's a love quartet but she's absent from the story for a time).
The major differences come in tone, with characters facing difficult and serious moments, and a more spiritual side to it all as Valente finds
Pepeu's brother (Ricardo Graça Mello plays both) and helps him out with his musical career; just as the entity played by Carlos Wilson (I still don't have a clue if he's
real or imaginary due to how the story presents him at times); and Diana's father Águia (Geraldo Del Rey) and his connections with the forces of
universe telling him about his daugther's future love life and who she has to choose as her partner.
Highly fun and enjoyable to watch, it's a great delight in all senses, specially if consdering that decade had so many trashy films. This one
goes just fine. But the same issue I had with "Menino do Rio" came here as well, with a downer bit that doesn't feel necessary to a story that goes
with such good vibes. And I liked this a little less than the first film as it is more downer with some stories, some presentations were a little
confused and rushed (the involvement between Zeca and the fan move way too quick, it's very jumpy). For a sequel made basically glued to the previous
entry, it's a little strange that Valente's daughter is 4-5 years old, as she wasn't born then (weird plot hole, unless she was adopted but no hint
on that).
Yet it's a relevant story about maturity and important life perceptions on love and friendship. It's sad to see that Valente and Patrícia didn't
start off well in here, if we look back at all the things they went through to be together but life has some of those things. It was great to see
the whole treatment given to the leading man as he approaches life with the same passion and intent as before, receiving good guidances on this new
journey, still loving and adventurous. He and Diana formed a very interesting couple, more than he and Patrícia.
As it deals a little with the musical world, "Garota Dourada" features cameos from Marina, Guilherme Arantes, Ritchie and Lobão (drumming for
Ritchie), so if you like any of those artists you get this fun bonus. More to be added? Not really. Pleasant times with this one, and a pity that
a third and final film was never made as there were some themes that could be explored and close the group's life journey. 8/10.
Menino do Rio (1982)
A pleasant surprise of a movie
The plot of "Menino do Rio" might sound very typical for a summer movie with all the needed basic elements destined to attract audiences. Watching it, however, is something different that stays with you for a while and it's destine to please many viewers out there (I'm just not
sure why it hasn't much after all the years. And I must admit that had some bias over it, thinking it would be painfully predictable. I was
wronged as the film progressed to a quieter way, very positive and controlled with everything it had to show, that even the cliches were
interesting to watch.
It follows the title character, hot body blonded surfer Valente (André De Biase), who basically follows the description of Caetano Veloso
song whose lyrics were inspired by the late surfer Petit. Valente and his friends have memorable good times together, and some
adventures in the beaches of Rio. He surfs, flies from hand-glinding, healths healthy and discovers the love of his life when he meets a
wealthy girl (Cláudia Magno), who happens to be promised to wed a rich dude (Ricardo Zambelli). Along with this storyline, Valente befriends the
poor teenager Pepeu (Ricardo Graça Mello) who fled from home and wants to become a surfer.
There's adventures, humor, love fights, a fun pop/rock soundtrack of the 1980's with Nelson Motta and Lulu Santos compositions, great surfing
and glinding sequels (the one that opens the movie was amazingly beautiful) and the typical
adventures of youth. But it all goes in such a whimsical way where nothing's too dramatic or tragic in their daily routine that it feels very dreamy.
Everything goes by in such a fine manner that you feel zen, relaxed and just enjoy the moment. Obvious that there are conflicts between the characters,
and it goes into a sad note very later (could have go without it, though), but those youngsters manage to solve their problems in a great manner,
that you almost believe that life could be like that (maybe it is for a little while). It certainly sells the idea of a well-built tribe who finds
ways of helping each other, be receptive of others and enjoy youth and life in the best possible way. Just love matters that are a little complicated.
Antonio Calmon delivered a very enthusiastic film, with a very enjoyable cast and the result was so positive that a sequel was granted,
"Garota Dourada", which is slightly inferior but fun to watch as well. Nostalgic 80's fans or ones who haven't got the chance to see Brazilian films
from the period have a full experience with this one. 9/10.
Taylor Swift feat. Post Malone: Fortnight (2024)
Amazing in everything
The wild world of social medias brought me to this freaking awesome music video that reunited "Dead Poets Society" stars Ethan Hawke and
Josh Charles on the year the film celebrates its 35th anniversary, one of my favorite films of all time. So, if anyone wonders what happened
to some of John Keating's students, they became scientists conducting experiments on Taylor Swift, as she tries to deal with repressed memories
and fantasies of a lover (played by Post Malone).
It has nothing to do with the film, as the
settings and storyline are very surreal and imaginative, yet the guys reunion compelled me to see it and I simply loved that encounter as
it also gives a reference to a new generation in looking back at a classic film.
The bonus I got was hearing something
unique, different from everything I hear these days (great lyrics and melody), and seeing the great-looking styles and visuals Swift obtained with
her director of photography Rodrigo Prieto ("Killers of the Flower Moon", "Brokeback Mountain") while presenting a twisted world that goes inside
her character's head. The digital makeup effect that presents Malone's tattoos on her face, little by little, was certainly one of the most
memorable moments ever developed on a music video. It all goes in a very cinematic manner and it's very appealing to film audiences as there's so much going on that invites some reflection on all the elements and feelings presented.
I was pleasantly surprised by how much I liked the video, the song and everything. 9/10.
Bete Balanço (1984)
A colorful and fun look at Brazilian pop/rock scene of 1980's
Here's a fun story about a young girl (Débora Bloch) who moves to the big city of Rio de Janeiro to become a singer and discovering
the Brazilian pop/rock scene of the early 1980's, finding some troubles and some love on her path to fame and glory.
"Bete Balanço" ("Swingin'
Betty") is the typical 'star is born' kind of flick , with tolerable cliches as it presents a colorful and enthusiastic view of beautiful Rio,
the musical scene that dominated the period with countless successful bands and artists becoming the heat of the moment, and a few of them
like Cazuza and Barão Vermelho appear as themselves. Add to the mix Débora, Diogo Vilela, Lauro Corona, Maria Zilda Bethlem, Hugo Carvana and
Arthur Muhlenberg and the result obtained by director Lael Rodrigues makes of "Bete Balanço" a nostalgic film with plenty of charm, good humor
and fun moments all around.
Won't say the story was fully captivating as it loses itself with a weak subplot revolving on street violence where the
photographer Rodrigo (Corona) investigates the lynching of street urchins by some important people, and strange as everything already is, that's
how he and Bete meet each other. He makes a daring photo exhibition from that moment, but later on that moment never caught up with him, and
we're already expecting some danger coming to the couple. The subplot is relevant for its period, and the social denouncement is valid but it
just doesn't sustain itself in this particular film.
Another point of contention comes from the singing bits, and since the film is about a wannabe singer, it doesn't convince or seduce much
having Débora in such role as she doesn't much of a singing voice. The studio rehearsal and the duet with Cazuza were nice, but far from being
potential songs that could become a single such as the title track (more famous than the film itself).
Yet I really liked this film. It's one of those summer stories with positive characters and positive spirits, many flights of imagination coming
from the lead character dreaming of fame and making spectacular music videos. And it's one of those rare opportunities to see Lauro Corona on
film, as he only made this one and the superb "O Sonho Não Acabou", and he was more well-known for soap opera works during the period. He was
an electrifying presence on screen, very talented but left us too soon (hoping to see re-runs from his TV shows). To see him sharing the screen
with his "twin" brother Cazuza was amazingly bittersweet. 8/10.
What You Take for Granted (1984)
Women at Work and the challenges they face
A reflective piece combining real interviews with some moments of acting with all relating to how women struggled to find their place in
the job market, specially concerning on fields dominated by men. From all kinds of backgrounds, races and jobs, they share their experiences, why they
wanted those jobs (it goes from driving trucks and carpenters to being medical doctors, artists and philosophers, hard labor to more intellectual
ones) and what prevented them from being viewed as equal as men, getting rejected at promotions and facing discrimination.
Michelle Citron's title for it feels a little enigmatic as there's not a clear indication as to "who" is taking things for granted, as neither
the interviews address to us in such manner. With a wide perspective after 40 years of its release and seeing what has changed in between, I
consider that the title addresses to all men (for obvious reasons) but also the women who now have a more comfortable path as for the careers they'll built and how
many of them in the past were denied opportunities or faced countless battles just to earn a decent living. Yet for all the progress made and
conquered by female, there's obstacles in between and a film like this serves to analyse past perspectives, how gloomy things were, how much has
changed, and the things that haven't improved all that much.
Almost all kinds of issues were covered by the professionals here: discriminations, poor working conditions, toxic working environment,
lack of respect, harassment and how they were perceived by male colleagues and bosses. Two of the interviewees appear in some acting segments,
the unlikely but honest friendship between a doctor (Belinda Cloud) and a truck driver (Donna Blue Lachman), and how they cope with their
problems at work, sharing about their stressful routines. Not sure if the film benefits of those moments all that greatly. I was more focused
on the stories, despite the majority of them being very depressive and pessimistic; others were a little humored (the sculptor talking about her death threats
to a co-worker who left her injured. She's very firm and funny).
I find it very worth seeing for its reflection of the topic, not only for female audiences but also male as well. It definitely raises
awareness, empathy and consideration as what every woman goes through on working spaces, even if they don't face similar situations as the ones
presented here, as there's always some difference of treatment depending on the field. It takes films like this to make us take a different
look at things we perceive as routine, when in reality they should be changed a long time ago. 8/10.