Rodrigo_Amaro

Of all the film adaptations/versions on Julio Cortázar short story "Graffiti" that I've seen (3 shorts and the 1999 feature "Furia"), this is the oldest released and the best by far. They all come from the same basis and carry the same elements while addressing the power of art, in special graffit art sprayed on walls, as a tool of expression, love and communication amidst societies where all forms of art are considered subversive and anti-government.

A young man and a young woman connect with each other through paintings and messages only they can translate, and each day goes by comes the soldiers to cover their art. If caught painting, they'll suffer the consequences: arrest, disappearance, murder, who knows.

Matthew Patrick's short succeeds not because of its story but how he presents it, echoing a reality and not an imagination of futuristic societies where art is forbidden - like the other films presented. He takes us back to the military dictatorships that were happening at the time in many Latin and South America countries ever since the 1960's up until the 1980's, with the control of what the public could see, talk, express, most notably the strict control of artistic works, massive censorships in all forms. Protests on walls and public spaces were part of that too. More than the visual experience, it's also a sonorous experience with Mr. Patrick eliminating dialogues, only allowing noises from the soldiers radios in the distance, surveillance everywhere.

The art displayed in "Graffiti" doesn't revolve on words of protest or drawings and shapes that are destined to create animosity towards authorities. It's simply whatever comes to the couple's mind to paint and decipher a meaning to it; or to any passerby notice something different, beautiful or peculiar that can make them stop whatever they're doing, think about it, as they're seeing something outside their routine. Art escapes, resists and survives, as long as there are ones who'll fight for their right to speak, but also to risk their freedom, possibly their life as well.

A tense, dramatic but beautiful, relevant and urgent work that speaks to all art forms that in one or another has faced some form of intimidation, blocking or complete erasure from view. 9/10.

In his second and final feature film, Gerson Tavares once again explores the frailties of a loving relationship, but this time he adds a tragic event to the mix. "Antes, o Verão" ("Then, the Summer") is less existentalist than his previous film "Amor e Desamor" but the questionings revolving the ways of a relationship are also present. In, it, Luiz, a successful man (Jardel Filho) and his wife (Norma Bengell) are trying to save their marriage and family by spending the summer vacations in a beach house. The couple needs time and patience to solve things out after the woman find out about that the man had an affair with another woman (Gilda Grillo). But vacations are ruined when a mysterious man (Hugo Carvana) is found dead in the middle of the road. The man was a recurring figure in the area, so suspicious arise on Luiz into knowing if the wife is cheating on him, or what kind of secrets he has on the family.

The story isn't told in the way I described - it actually starts with the man being hit and run by a car - and Mr. Tavares goes in a secretive, thrilling and very engaging sucession of flashbacks that chronicle the family life, with the two young boys that befriend the neighbor Roberto (Victor Rossigneux), a quite mysterious teen on his own that isn't liked by the father/husband; the small problems in the house; and mostly the connection and disconnection of the main couple; the sudden visit of the man's lover; and also moving forward with Luiz trying to connect the pieces about the poor man's accidental (or not) death. And after all this new event, and that his wife might have a part in someone's death, is there a possible way for them to recover, to pick up the pieces of an already shattered relationship? Is love strong enough to survive infidelity, third parts involvement and other secrets?

Must say that the couple crisis wasn't all that interesting, it's all effervescent bits and pieces put together. But when added to the tragedy and the affair being revealed, things heat up for good. It's very easy to get invested in finding about the mystery man and his role in everything. Comes with a twist, somewhat distant to the couple situation. It answers a little, but not that much. A fine drama with a lingering enigma to be solved that leaves you uneasy, and the countless flashbacks make it all more special to watch. Could have used some extra minutes to provide more depth and some intriguing scenarios revolving the mischievous Roberto. He's shady, and there's a revelation about him later but I wonder about his first close interaction with the father. Was he seducing the older man? If so, with what purpose?

The acting is quite good, especially the great Jardel Filho. He carries the film as the story is seen through his point of view and memories (as he also remembers the family gatherings with his father-in-law, played by Paulo Gracindo), through many wrongs and rights, a strong sense of suspicious on everything and everyone, but you can feel that he's trying to do the right thing. Might not be the best husband, but he's definitely a good father. Won't say Bengell delivered something special as her expressions are all sad and similar. But her scenes after the accident are outstanding.

A small experience, but very enjoyable. A pity that the director never returned to feature films, cause he was good and knew how to make you involved with the characters and their humanity. 8/10.

Something of a very rare kind in terms of music videos made in Brazil, at the time and beyond, a movie soundtrack video, this one presents the theme song of Cacá Diegues film "Um Trem para as Estrelas". Composed by Gilberto Gil and Cazuza, and mostly associated with the latter artist due to a solo MPB performance of his, the "Fantástico" version shown in this clip is a duet with singers delivering a fine act as clips from the film are shown through the idea of celluloids displayed, sometimes along the singers performance on stage.

A great idea, with effective and better results in Hollywood, that serves its purpose to sell the urban drama of Diegues, some of its mystical themes, and also serves the idea of selling the soundtrack - though the great song was underused there. For the fans, it's simply witnesssing the encounter of two musical giants of Brazil that makes of this video a memorable spectacle. 8/10.