brazilian movies you need to see 💖

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Hi guys 💖 I love blogging about myself, and things I like, especially things I want to pass on, I love movies even more when they are of great quality and have a whole interesting and strong story!!

1- Madame Satan (Madame Satã)

the film came from a real story, João Francisco dos Santos, better known as Madame Satã, was a Brazilian transformist, an emblematic figure and one of the most representative characters of the night and marginal life of Lapa in the first half of the 20th century

Formerly played by Milton Gonçalves in The Queen Diaba (1974), João Francisco dos Santos, a controversial personality of the carioca bohemian of the 1930s, won in Madame Satã the no less visceral incarnation of Lázaro Ramos. The irascibility of this character only dims on stage, in contact with art. Feeding on the stories of the pampered diva, the subject longs for the moment to step on the spot, understanding that that space bathed in the spotlight is the only space that can truly express itself without resorting to violence. Outside, in the daily life of a charming and unstable Lapa, he manifests himself through brutality, reacting like a wounded animal to all sorts of misfortunes from the world that turns his back, especially on being black, poor and homosexual. It is a pariah, living on the fringes, who is not given the chance to experience the benefits of a peaceful life. Survival is an urgent necessity.

Historically speaking, the work has an immense value of urban and social setting, through the excellent costumes and also the makeup. The film also deserves all the credit for its art direction and production design in a broader field, especially when we consider the opposition of classes in individuals (seen by their language and wardrobe) or in the architecture of the city, seen through the great locations . Under Walter Carvalho's photography, this scenario of Rio de Janeiro (then capital of Brazil) in the 1930s, is a true mixture of colors, loves and pains, a visual path that helps explain a lot of ethnic vices and prejudices, of sexuality, religion or social class that already plagued society.

2- the self of pity ( O Auto da Compadecida)

Directed by Guel Arraes and inspired by the work of Ariano Suassuna. The story revolves mainly around two characters: Chicó and João Grilo. The two extremely entertaining figures get life as they can, surviving from low-paying jobs and small blows.

the northeastern drought as a scenario, country characters played by great actors, clever dialogues and a classic of national literature as a plot. Geographical, economic, social, political and religious issues are presented as if it were a playful game. The lack of information and the high degree of illiteracy of the northeastern sertanejo justify the restricted freedom imposed by the colonel and the morally imposed behavior by the church. Still, cleverness and quick thinking is the weapon this same countryman has to survive in this hostile environment. The northeastern culture is rich: cordel literature, innate musicality and peculiar craftsmanship are of total originality and aesthetic creativity. The duo João Grilo and Chicó is an embodiment of these typical Brazilian characteristics. Cricket's agile dialogues and quickness of reasoning support the thesis that knowing how to communicate is basic in any social relationship. Knowing how to use the word and its power is the most efficient weapon you can have. Criticism of the church, which sees in its offerings its perpetuation, is opposed to the faith that endures even in critical moments such as the hour of judgment, after all faith is free.

3- Captains of Sand (Capitães da Areia)

A formative feature of Bahian culture, syncretism brings together different creeds such as Catholicism and Candomblé. The veneration of religious images is a common point between the two, and in (Capitães da Areia) the clay idols are everywhere, whether alive or inanimate.

"Captains of Sand", conveys all the feeling, the poetry, yes, that good and sweet poetry of each dialogue, for being a film inspired by a book ( Jorge Amado ) , we see, then, an adaptation not just for profit, we see a film that respects its creator, that respects those who admired the work, seems to be something unpretentious, without wanting to compete with big productions or without wanting to go down in history, comes to remind us of the quality of a little-valued literature.

Its content in encompassing social violence and aggressions in juvenile reforms creates discomfort for the Getúlio Vargas government. Therefore, it is not long before the first edition of the books are seized and several of their copies burned by the authorities during the dictatorship, in the capital of Salvador in the public square. The argument for such action according to the newspaper "O Estado da Bahia" was that the book was sympathetic to communist ideals.

Among the problems that cover “Capitães da Areia” with regard to the abandonment of minors and their possible consequences, stand out, therefore, discrimination, crime, violence and prostitution.

“Read today, this novel is still moving and makes us think of the underprivileged children, the street children, the abandoned children, almost all father and mother orphans, children of misery and abandonment. Thrown to the margins, they steal and commit other crimes to survive.... ”
Who are these characters? They are the bandits, the victims, the abandoned ... The heroes of our literature.
4- Seven-Headed Bug ( bicho de sete cabeças)

In addition to an efficient drama, Seven-Headed Bug is a frightening portrait of the Brazilian asylum system. Imagine a cross between the coldness of the hospital staff at Um Strange in the Nest and the brutality and poverty of the Turkish prison depicted in The Midnight Express and you will have a vague idea of the kind of 'treatment' these national institutions offer their internal.
The film, inspired by Austregésilo Carrano's autobiographical book, The Song of the Damned, tells the story of Neto, a perfectly healthy teenager who is hospitalized in an asylum by his father, who hopes to push his son away from drugs. As weightless as this attitude may seem, the truth is that unjustified hospitalizations like this are, unfortunately, more common than imagined: there are even reports of women interned by their husbands, accused of adultery, and of alcoholics being handed over to the family. electroshock therapy as a way to get rid of addiction (in fact, this kind of nonsense also occurs in other countries - see Girl, Interrupted - but here the aggravation lies in the abandonment and poverty of asylums as well different from first world clinics).

Beast of Seven Heads is, above all, a blatant complaint that deserves to result in a detailed investigation by the authorities.

But the biggest hit of "7-Headed Bug" may be its full adherence to the protagonist. Even in the few moments when he is not on the scene, we feel that the film remains with him, suffers from him, shares his humanity and communicates it to the viewer. The world may have turned its back on it. The movie, no.

5- Last stop 174 ( última parada 174)

“Last stop 174” is successful, thanks to an ingenious script, which explores the symbolic relationship between mother and child (and the trauma of their absence), and the good interpretation of actor Michel Gomes, amid an uneven cast. Interestingly, these elements reinforce the fictional character of the work: being a thesis film, reality matters little, or only insofar as it illustrates what is meant.
And what is the message? This is the old equation that explains and justifies violence and crime based on inequality and misery. Sandro ate the bread the devil kneaded, true, but that didn't eliminate his freedom of choice. Anyway, all the miserable people would be thieves, murderers or drug dealers.

The first is the relativization of values: in a world where everyone is a victim, there are no guilt or individual responsibilities; if behind all violence there are other equally barbaric violence, this is often the case, there is not much left to do as long as inequalities exist: those who pull the trigger and those who take the shot are similar, killing and dying are just two sides of the same coin. Second, by reducing the viewer to helpless immobility, by depriving him of his ability to discern right from wrong, the film has a therapeutic and cathartic function: to atone for the historical guilt of elites (and also of the middle classes) in relation to disadvantaged sections of the Brazilian population.

Strategy is at the heart of melodrama, a genre in which the extreme simplification of the world's disorder turns the failed man into the victim of a guilt-free plot. It is a fiction, it can be argued, which saves him from comparing it with José Padilha's strategy in the documentary "Bus 174", which draws Sandro's path from the matrix of social injustice.
Even if the equation "favela + traffic" is part of the film, Bruno Barreto avoids exposing social reasons, preferring to be concerned with turning good images into the turbocharged script of Bráulio Mantovani, in which the situations of Sandro's life follow as if they had ruled by a fate against which it is no use fighting.
Thus, the culmination of its trajectory with the hijacking of the bus exempts the viewer from any sense of responsibility. And it satisfies a portion of the public that closely supports the solution ( "A nice bandit is a dead bandit'').
6- Chronically Unviable (Cronicamente Inviável)

Throughout the film the director brings specific issues in each region of Brazil, it is with a critical eye along with the humorous side that he brings elements experienced in the daily life of Brazilians. The film deals with issues such as Social Injustice, class clash, third sector, miscegenation, prostitution, violence against women, racial prejudice, trade union struggles and social movements, very well exposed and understandable themes, with an interconnection that facilitate a critical reading of reality. Brazilian
The way in which the plot was established, leads viewers to have a different look from the everyday situations that are put on daily. For each region of the country, a different theme based on the projects that will be developed in each Brazilian territory, which works perfectly well.

In the Northeast region, the way Carnival has been one of the parties planned to make the population forget their problems through an authoritarian domination.called by the director as happiness, canned Brazilianness that is good for everyone, and it has served as palliative and deceit for the population that suffers so many social, economic, political and regional inequalities stamped in the dressing rooms of the party in the form of violence, exclusion and alienation.

In the southern region, the criticism is marked by economic development, along with class inequalities, maintenance of the ideology that the South is the region that sustains the country's economy, generating national economic identity, and that only through work is possible to preserve the united country.The director does not miss the detail of the Brazilian colonization process, where a trace of southern thought is based on European thought.
In the Midwest region the emphasis is given to slave-like labor, child slave labor, mestizaje brought along with colonization, and the process of slavery in the formation of Brazilian society, the South American legends and myths embodied in the character. Amanda.
Southeast region demarcated by tourism and a reflection on the expression God is Brazilian: Isn't it strange that he always has his arms open? It may seem that he says: - From every corner of the world, men of all races, cultures and creeds, and mercilessly exploit to touch fire, have no respect for the earth, nor for those who lived on it, neither for the old nor the old. kids come and fuck it all.
North region
homeless children, large-scale targeted violence, and a concentration of social philanthropic thinking.
The inductive and systematic logic to explain police violence as a ritual of systematically beating the weakest, marked by police action that already comes with stereotypes formed of who is the bandit, the delinquent, which causes harmful society.

of course I don't stop quoting of a film bacurau who has a blog all just for him 💜

I hope you enjoyed my small and discreet text 😅😂

💋

@missy @rambo @jacqueline

VIEW 8 of 8 COMMENTS
giully:
O auto da compadecida it's a beautiful movie ... 😍
jaws318:
:) yes

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