E Amanhã... O Mundo Todo

Winston Churchill said, "The fascists of the future will call themselves anti-fascists."

And this film is precisely about this left-fascist antifa. It gives a good look at the violence with which these organizations operate: the training in violent sports, the beating up of people who think differently, the destruction of cars of political opponents.

In this orgy of violence, a somewhat naive law student of noble birth ends up through a girlfriend. And she gets carried away in this.

The film itself has little story or content.

Never have I seen a film come so close to making a point and then miss the mark entirely. The acting is fantastic, especially by lead Emde, the cinematography is striking, and the editing is well done. But the script reads like a first year's essay on Free Speech and Fascism that didn't bother to do any real research. For a much better version of this film, check out "The East."

A mediocre and overall fairly disappointing movie due to weak plot and overall message, mediocre direction, slow clunky pacing, and a very predictable cliched ending. There are some redeeming qualities though such as acting, music, production values, cinematography, and some cool (despite being thinly executed) ideas here & there. It's certainly watchable and all, but don't get too excited about this one.

Very often people forget that movies could and should be two separate things. Some are entertainment, pure and simple, and some are art, trying to tell a story or make a statement about the world around us. It usually isn't that difficult to figure out what kind of a movie we want to watch. Even so, too often viewers who despair to be entertained at any cost complain about art movies. They are slow, boring, blah, blah, blah... That is always unfair and we and only we have a final decision what to watch. So, this is an art movie, raw and unraveling like the relentless passion of youth. Jerky camera moves, gray streets of an industrial city, innocent idealism that turns dark and dangerous. Fighting evil is a filthy business, nobody comes out of it unscathed. Perhaps that's the reason why there are so many onlookers and collaborators. Fear and cowardice, the twins of failure and missed opportunities.

The leftists are routinely portrayed as idealistics and somewhat naives. The director, despite her own experience, does not avoid this portrait, although it focuses on the well-known friction between fighting with the same weapons as the enemy, about turning into a wolf to face the wolf. "If it had been done in 1930, Nazism would not have existed." That is a good justification. But showing left-wing extremists as immature and naive makes the debate too simplistic.