hey Sgland, I confess I love to write .. one more blog for you, I hope you enjoy it!!
bacurau a film by Kléber Mendonça and Juliano Dornelles in a single film, which seeks in the roots of northeastern DNA a motivation to tell this story that is a classic that can be shown with great feats of tarantino, violent, current and full of criticism in politics Brazilian!
It's not just a story of violence, but the story of a people, of a culture that resists together, But if Bacurau is a revenge fantasy, who are the avengers?
Reducing the movie to a #elenao rematch is the most cursory reading you can do, for or against. Nor can we say that it deals only with the northeastern or backcountry. Just project a bit of political economy on the film, though, and it becomes far less metaphorical and far more literal.
The violence that the film avenges, past, present and future, is the one that exists at the borders of capitalism and the state. It is the violence to which those who, never fully included in public services or the market, can at any time become objects of political power or economic interest. It is the violence that surrounds the “involuntary homeland”, in the accurate expression of Eduardo Viveiros de Castro: indigenous people harassed by the extractive frontier, peasants surrounded by squatters and slums, slums threatened by real estate speculation, police, militia. It is the violence through which the capitalist system expands and defends itself; that which manifests itself in the search for cheap labor and nature, in the processes of primitive accumulation and in the management of “surplus” populations (read: devoid of economic functionality). This violence is not a metaphor; it is happening right now in some indigenous land, periphery or border that, from a more central point in the nets that feed on it, we do not see or prefer not to see.
for his debut in paris bacurau was le monde's full highlight. Featuring a full-page article that includes interviews with filmmakers and a review, Le Monde underlines the social critique side of the Brazilian film, a futuristic western, which premiered at the Cannes in May, where he took the Jury Prize.
The directors also comment on the cut of all government funding for the arts and the government's announcement of a military film festival in São Paulo. “So many things happen that we no longer know how to react,” laments Mendonça Filho. But the interviewer, Laurent Carpentier, recalls that the reaction comes in the movie's final message: “Culture is both an identity and an industry. This movie has generated 800 jobs. ”
