Violence — or, rather, the threat of violence — haunts every frame of João Paulo Miranda Maria’s debut feature film, “.” Set in an Austrian settlement in Southern Brazil, this discomfiting drama tells the story of a man so alienated by the world around him that the stench of death at work and the menacing environment outside it have hollowed him out.
Here’s where the film’s original Portuguese title feels all the more apt. Unlike “Memory House,” which makes Cristovam sound like he’s trapped in a gothic short story, “La casa de antiguidades” situates his abode as a place where objects and their attendant histories have been discarded. Yet there’s also a sense of curation that comes through in that original title; not everything that’s old can be restored; not all that’s been forgotten can be reclaimed.
What’s most remarkable about “Memory House” is not just its boldness but its beauty. Despite trafficking in urgent social and economic concerns, the film has a visceral sensibility that finds both poetry and politics in the simplest of images. It’s not just Cristovam’s bull mask . It’s a shot of a cow bleeding out after being slaughtered, reflected over Cristovam’s protective gear at the factory.
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