Tier is too sentimental to let his arthouse filmmaker vices take up more space than the characters' proximity to the audience. For several moments the film escapes completely into metaphorical sequences to transform what is highlighted in those images into a stylistic one. The mushroom, cancer, and prologue sequences border on unwatchable, but in these moments the cast always shows service and brings the film back to its most intimate strengths.
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Rio, 100 Degrees F. 1955
- zeca, vai buscar mais água zeca
- ah mãe eu tenho que trabalharI love the parallel the film draws between the classes of Rio de Janeiro. The white socialites do the sightseeing while the black kids beg, the pinnacle of which is the white prodigy player scoring a goal while a black kid dies. In the end, samba. Another normal day in the wonderful city.
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Copacabana My Love 1970
One of the most impossible films to categorize. Sganzerla's camera unravels a very brutal realism and rawness, but at the same time operates all of this in a very playful and fantasy game, even without using a shred of staging. It's not theater, it's not real life. He is not interested in dramaturgy, much less in realism. Anyway, too giant and will only grow with revision because it is an infinite film precisely because it has no theme and addresses all of them at the same time.
