manoel-giffoni

...and I found it great because it examines the process that lead to the huge social crisis we are currently living in Brazil without resorting to maniqueism. It actually blames everyone that is to be blamed. Mrs Murat knows what she is talking about when presents us the reality of the political prisoners in Brazil's 60s and 70s, she's actually been there. However, she never falls into the endless mourning of the poor intellectuals that were forced to live among ordinary prisoners. She actually presents a question and leave it for the watchers to make their own conclusions. The only weak leak is left to the nowadays romance between Maria Flor's character and her slum chief boyfriend. The acting is weak and her character is shallow - nobody knows what are her feelings, why is she there, how much she loves him (and maybe that's because there was too many things to be told at the same time).

I have just seen the film in my city's biggest cine club with just about all my cinema colleagues. When I bought the ticket I was handled a leaflet with comments of some critics and the very first sentence was "it questions what it is to be French" which obviously scared me. Although I much love the European country and do like many of its films, this is not a question I catch myself asking every now and then. It seemed like a Nouvelle Vague personal crisis of what am I, where I am at, and all that... and I have to say my opinion about the Nouvelle Vague is quite controversial to most of the cinema fans. When the film began, the explanation of the thesis the movies shows most willingness to prove, I all had was a confirmation and a damn-it-what-the-hell-am-I-doing-here sensation. However, I've payed for the ticket, I had slept for the whole afternoon and I didn't have money for extra beers outside the cinema, so I stubbornly decided to stay. And what a wise decision I have made! The plot goes on beautifully questioning everything (and I couldn't spot the French questions, thanks God). I actually saw questions about love and life - definitely not exclusive to the French. I saw characters that were designed with a precise care - not excessively harsh, nor excessively romantic. Real people with real problems and real solutions (for the good or for the bad). In a sensitive and reasonable balance, not in the hysterical way many movies end up going whilst pondering about such questions. I have to say I thought a zillion times on the last part of the movie that this was the time to stop, to finish. And the director kept on repeating scenes and talking about all his personal theories - which I think the viewer has the legitimate right to formulate. But it kept on going and kept on going like a brainwash. I, myself, and what I think is my intelligence, got a little offended. In the overall, I really enjoyed the film. And I am going to watch some other Resnais' work to see if his cutting skills had developed, don't worry.