This middle-class denoucement farce is a dangerous movie that falls into the entrapment category. It is about terrible, vile and sickening things - as
life is sometimes - and it is presented in such a format of those objectionable things it's difficult to understand where the criticism begins or a possible plausible
for it to exist. Alexandre Boury's film is said to be composed in the same way as the Dogma manifesto though interpreted on a Brazilian way of settings and
schemes - hence why the below B film kind of cinematographic style. It's too pretentious to be that since the quality standards of almost everything, from
editing to acting and story fails spectacularly bad despite good thrillings, a frightening humor that isn't there and the pretension of making a powerfully
shocking statement about a class of degenerates. Yet the movie proves its point by presenting real interviews with non-viewers of the film who are the possible
threat to society.
It can't be said that "Cama de Gato" is totally flawed because the director created a perfect rollercoaster
of emotions and thrills for the characters, you're glued to the screen and wanna know how it all ends. I shall wash, but I shan't be cleaned and I never thought a film could make me feel
so bad when the credits rolled (and you have to see it up until the very last minute). This "Very Bad Things" (1998) experience revolves a trio of young clueless teens
highly opinionated about their own reality who are confronted with a serious of troubles and crimes simply because they wanted to have fun. Rape, murder, accidental deaths,
total disregard for ethics and the lives of others is what comes to them. It's all brutal, shocking and unappealing (but violence finds its way to entertain viewers out there,
despite things being played out sickening, dumb and ridiculous as if it's wanting for exciting laughs from a dark humored comedy). To be fair, the only laugh the film gets is thanks
to its amazing amateur quality with everything presented; but with such strong themes of violence and social alienation the film gets too dark to be seen in a light way. It's not funny,
neither satirical.
Early 2000's and the whole talk about the internet visibility and mass appeal is slightly ahead of time (those are the most curious scenes from the opening bits since
it's a weird journey to the past days of the web, so awkward for those who lived it. A time before the accessive social platforms of today). It's in this context of
affortunate yet bored teens the film gets its idea of a youth that celebrates wrongdoings because the system is all wrong to them; a generation entitled to everything
except dealing with consequences and duties. It's all about drugs, drinks, parties and non-consexual activity we see with the characters, and from real opinions
given by that parcel of society. So, the film is a thesis about a reality, it's real up to a certain extent.
I understand the bad reputation it gets though I'm not all favorable to it. "Cama de Gato" is an experience to be felt, the director tries, succeeds and fails with
such an intensity that it's easy to get confused about everything. The pace is excellent but the story fails to deliver credibility or sense of a total realism
since it forces everything down the viewers throat. While the actors fully undress on scene; the soundtrack coming from the moment and not created for it - all is well,
but when you have the characters breaking the 4th wall addressing to us as if we were part of their discussions it all goes wrong. Add to that
repetitive lines that are echoed not just in sound, they're played out several times from different angles as if mixing bloopers with the good take. Lame exercise.
Had it not been for the Dogma-like thing and with some adjustments this film could be saved in spite of the objectionable morals and story.
Time to talk about what brings attention and audiences to this film and that's the most famous of all names associated with the picture: Caio Blat. One of the lead
stars, a spectacular actor who amazes us each performance goes by in anything...except this very movie. It's unbelievably strange that he had to reduce himself to
such a low-production that for a time you can't recognise him anymore (expression, delivery of lines, it's so awkward). On a bright note, he dares audiences for
pushing the envelope for his craft in ways that no Hollywood major stars could ever do, and while an infamous film on its own to the point it looks like as a
career killer (Cainan Baladez only made this film) it didn't do any damage to him. Blat only got better from here.
It's an almost watchable thing that will make you fuzzy and mixed after the whole rush. I don't oppose its themes or justifications since many directors had
walked on those issues: Pasolini, Larry Clark, Von Trier, Van Sant and more. What I do oppose is the way one deals with those issues, the way they are presented
(here without style and or substance); and on a lower scale, a validation of those "heroes" because that's where the danger begins to the point sore excuses of
beings endorse everything that's presented because you're spoon feeding audiences rather than making a critical thinking. The final acted sequence is unforgettanly
absurd and goes beyond reasoning. 5/10.
