Purnima Scott

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Synopsis - Hired to steal a rare painting from one of the most enigmatic painters of all time, an ambitious art dealer becomes consumed by his own greed and insecurity as the operation spins out of control. Country - Italy. &ref(https://m.media-amazon.com/images/M/MV5BZWFiN2I4ZTQtZDA2NC00YzE3LWFhMzgtZWY0MGIzNjdiZmY3XkEyXkFqcGdeQXVyOTgxNDIzMTY@._V1_UX182_CR0,0,182,268_AL_.jpg). Average ratings - 6,4 of 10. Scott B. Smith. release year - 2019.
I t takes a rich cinematic text to inspire not one but two separate repertory programs in New York, and Kleber Mendonça Filho and Juliano Dornelles’s Bacurau fits the bill. When I caught up with the Brazilian filmmaking team, they were in town for an extended stay to help kick off Film at Lincoln Center’s “Mapping Bacurau, ” a series of their genre influences ranging from horror to action to westerns. (This series, unfortunately, will no longer proceed due to the COVID-19 outbreak. ) While they had a direct hand in choosing the films in that lineup, they had no involvement in the second program, BAM’s “Rise Up! : Portraits of Resistance, ” which placed Bacurau in conversation with such protest films as Glauber Rocha’s Antonio das Mortes, Gillo Pontecorvo’s The Battle of Algiers, and Mati Diop’s Atlantics. It’s the latter thematic thread that I spent most of my time discussing with Mendonça Filho and Dornelles, his longtime friend and collaborator. While an appreciation of their cinematic antecedents and inspirations for Bacurau enhances the viewing experience, it isn’t as vital as a knowledge of Brazilian history and politics. Mendonça Filho’s third film, his first sharing a directing credit with Dornelles, feels like both a continuation and escalation of his previous features, Neighboring Sounds and Aquarius. Both films located simmering tensions in Brazilian society surrounding corruption and inequality that explode in the near future of Bacurau. Residents of the titular village, facing an invasion by mercenaries willing to quite literally wipe them off the map, must take up arms in solidarity to protect their lives and land. Don’t mistake the film for a statement on Jair Bolsonaro, however, as it was conceived years ago and shot months prior to his election. As Mendonça Filho and Dornelles pointed out, Bacurau speaks to the present only by coincidence. Yet in their recognition of history’s cyclical nature, their dystopian romp about society’s unaddressed faults can remain relevant through just about any president or administration. In our wide-ranging conversation, we covered the hazy distinctions between past, present, and future in both Brazil and the United States. Your three features feel like they’re circling similar questions about land, heritage, and resistance, and community against a backdrop of capitalist crisis and inequality. In Bacurau, there’s this all-out warfare against imperialist intruders. Is that a reflection of the country and the world around you, or something completely separate? Kleber Mendonça Filho: It’s interesting how we never really discussed any of that while making the films. But once we begin to talk about them, we learn a lot from critics and observers. It’s then that we realize that each one of the films has a very specific tone and speed, and it seems to match the times in which they were made. So, Brazil was actually very stable in the later years of the last decade when I wrote and shot Neighboring Sounds, but, of course, stable doesn’t mean that everything is fine. It means that there’s some disturbance, some diffused tension in society like all societies have. And I think that’s what the idea of “neighboring sounds” is. It’s kind of ethereal, and you can’t quite put your finger on what exactly is wrong and what [has the potential to] happen. Then there’s Aquarius, which was done in 2015. By 2013, things were beginning to go very wrong in Brazil, and I think the film rose out of that. We have been talking for years about Bacurau, and, of course, with everything that happened in 2016 in Brazil, when millions of Brazilians saw a soft coup d’etat? Juliano Dornelles: I don’t see it as soft. KMF: It’s soft because you expect tanks. That’s when Brazil began to deviate from what we see as democracy. And then, incredibly, we got to Bacurau, and it’s almost like we’re entering what should be dystopian fiction, literature or film, but it’s actually reality. I have to say, Mr. Trump’s election in the U. S. was part of what we were feeling, a change in the rotation of the political temperature. And then, we just wrote the film, feeling very connected [to the moment]. Then people, even in Cannes, tried to insinuate that the film was, or even interpreted the film as, a vision of Bolsonaro’s Brazil. This, of course, doesn’t make any sense because we shot the film seven months before he was elected. When we were shooting the film, I don’t know if you [to Darnelles] ever thought…he wasn’t even a candidate. JD: It wasn’t even a possibility in the same year that he got elected. The beginning of the year, it was just a joke. It all happened pretty fast. KMF: But it’s fascinating how you can be truthful to tone and atmosphere, which doesn’t really go through fact. I think truth is stronger in the atmosphere of things in society, than if you start discussing actual fact. I think we were truthful to what was happening. Each of the films, by chance of what happened in between the time that they were shot or conceived and when they were released, looks prophetic in a way. You’re picking up on the tremors that lead to these earthquakes that we see and observe. JD: Yeah. It’s interesting because we’re about to show 20 Years Later, Cabra Marcado [the directing duo had programmed this film in Film at Lincoln Center’s “Mapping Bacurau ” series]. It’s a documentary about, how can you say? KMF: A community leader and a peasant… JD: …a community leader in the moment of the dictatorship, the ‘60s and ‘70s. He got assassinated in ‘64, the same year of the beginning of the coup. The other coup. KMF: A hard coup, with attacks and guns. JD: In this film, it’s crazy because it started like your definition [of how the film picked up on political undercurrents]. And then began to be an idea. A scene from Bacurau © Kino Lorber KMF: Maybe we’re moving on to the second [a hard coup in Brazil]. JD: Probably, I don’t know. So, in this film, they show some images of newspapers. The film is filled with fake news, calling people communists. They aren’t communists, but they’re called that. So it’s crazy because it’s the same thing. It’s crazy because this film is prophetic, and now Bacurau can be called prophetic. But it’s interesting because it’s just a look into the past. You can find the same situations all of our history. KMF: I can almost see some place in the world using guillotines to punish people, kill people through the power of the state. And then, of course, we go back to almost 300 years to the French Revolution. I don’t think that’s too far off. It’s very scary to think about that. Nowadays, I think you could get away with that but for the optics. If you could somehow do it in a more palatable way? KMF: There’s a very frightening moment that I don’t know why we didn’t subtitle. Maybe because we thought it would become a political event inside the film, and it was designed just to be on the corner of the screen, which is a very white screen. When Terry [one of the mercenaries] is inside one of the houses in Bacurau, there’s a television which is on. And it says that public executions are restarting at 2 p. m. And it’s like a live feed. So, there are executions. There are executions all over the world. They’re in Brazil, in America, in Mexico. JD: Black and poor people are being executed. Right now [points to watch]. Another one. KMF: We don’t quite have a public execution on television at 2 p. That’s one thing we don’t have, but we have all kinds of different executions. It’s a fascinating idea when just the use of words takes things one notch up, and it becomes tougher. The setting of Bacurau is “a few years from now. ” Was it always this indefinite looming specter of the future as supposed to a fixed date? If you enumerate it, you start thinking, “Okay, how long did it take to get to this point, and that point? ” KMF: I love those questions the viewers find themselves with when they see the film. We always talk that it’s the best and cheapest special effect in film. Just five words. JD: A few years from now. KMF: It puts you in a heightened state of alert. So, you begin to scan the screen and look for evidence of the future. There’s very little evidence of anything related to the future because the future is actually now. Neighboring Sounds and Aquarius open with montages of black-and-white vintage photographs of the past. It’s not how Bacurau opens, but we see the same types of photos inside the museum and inside the houses. It doesn’t strike me as a coincidence that the climactic battle takes place inside the museum, the past and the future overlapping. KMF: My mother was a historian so maybe that’s one explanation. I love documents, photographs, archives. Aquarius is actually about that, but it doesn’t tell you that. You can tell by watching the film that this is gone. This [film] is completely obsessed with objects, archives. Neighboring Sounds doesn’t really feel that way. But it’s very much about the weight of history and how people carry history on their back. And of course, in Bacurau, people keep inviting other people to come visit the museum. JD: One thing that I like to think also is that we come from the big city, not from that particular region. We’re from the northeast region, which is a huge region. So, the culture is very different there. We were always concerned about not making a film of people that we don’t really know. So, I think this contact, this wish to use archive images and history, it kind of gives us more safety to walk into this terrain. And, yeah, it brought a beautiful confirmation when we started to look for this particular location, that village, we discovered that many other little villages like that had their own museums. But these museums, we didn’t know about them, and we just wrote them. It was great. KMF: But I think we were familiar with the

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3:15 najlepsze. Obraz po c5 bc c4 85dania blood test. Obraz po c5 bc c4 85dania battery. Są piosenki, które nigdy się nie nudzą, a zawsze chwytają za serce, gardło i mocno, mocno trzymają. i ta właśnie taka jest. tyle różnych wspomnień. po prostu bądź. Career options are in constant flux. Ambitious students who might once have embarked upon an arduous training in neurosurgery can now stream the sound of panpipes, invest in a clutch of jade eggs, and swiftly prosper as wellness consultants. No profession has risen quite so fast, however, as that of intimacy coördinator. It’s a hell of a job. You hang around on movie sets, telling people in various states of undress what they can do to one another, what they mustn’t even think of when they’re doing it, what they definitely can’t do, and, once they’ve not done it, how to treat the nasty case of tennis elbow that they developed along the way. Yet the hardiest intimacy coördinator?armed with a tape measure, a protractor, a magnifying glass, and a copy of Peter Singer’s “ Practical Ethics ”?would struggle, I suspect, with “The Burnt Orange Heresy” and “The Whistlers. ” These two new films have a surprising amount in common. In each case, near the start, a man and a woman have sex. The activity itself is vanilla but vigorous, like a frothing milkshake. But what of the motivations? In “The Burnt Orange Heresy, ” the spent participants, who only just met, lounge around, in ecstasy’s wake, and riff about what comes next. “We’ll move to the States. Connecticut, probably. Buy a house, porch, with a swing and a brook, ” one says. “Babbling, ” the other adds. You can sense that the riffing turns them on, and that they’re almost certainly lying about what brought them to this encounter. As for “The Whistlers, ” the couple isn’t a couple. He’s a cop and she’s a criminal, but they’re in league, and she pretends to be a sex worker, summoned to his apartment, because they’re all too aware of being watched on CCTV by those who wish them ill. In short, what appears to be consensual intimacy, in both movies, is an act of deliberate carnal deceit. Coördinate that. “The Burnt Orange Heresy, ” directed by Giuseppe Capotondi, stars Claes Bang (I’m saying nothing) as an art critic named James Figueras. Though handsomely clean-cut, he’s ragged around the edges in ways that are hard to define; you’d willingly lend him money, but you wouldn’t expect to get it back. We first meet him in Milan, where he’s lecturing to a group of culture buffs?spinning them a yarn about a nonexistent painter and then smoothly reeling them in. They are joined by a latecomer, the elegant Berenice Hollis (Elizabeth Debicki), of no fixed abode. She and Figueras, wasting no time, become firm friends, as detailed above, and he asks her along on his next jaunt: an invitation from a wealthy art collector, Joseph Cassidy, to his villa on Lake Como. Tough gig. Cassidy is played by none other than Mick Jagger, who has graced our feature films all too rarely since he played the reclusive rock star of “ Performance ” (1970), delivering “Memo from Turner” in a crowing drawl, among half-naked gangsters, with Ry Cooder on slide guitar. If Jagger’s character hadn’t been shot at the end of that movie, you could imagine him growing up into the comically rich Maecenas of “The Burnt Orange Heresy”?though not, as yet, growing old. Cassidy is an extraordinary figure: wicked, wrinkled, flute-thin, flawlessly dressed, with a head too big for his frame and a smile too big for his head. The smile suggests a perpetual amusement, as if he were enjoying a joke that is far too private to share. Identifying Figueras as a fellow-knave, Cassidy gives him a delicate sin to commit. The target is Jerome Debney (Donald Sutherland), the Salinger of painters?an object of both reverence and rumor, long vanished from the public eye. In fact, he’s dwelling quietly in the grounds of the villa, and Figueras’s mission, should he choose to accept it, is to steal a Debney, having inveigled himself into the artist’s confidence. What (or, indeed, whether) he has been creating of late is not the point. Cassidy, like all patrons, craves to possess. “The Burnt Orange Heresy” began as a 1971 novel by Charles Willeford: cavalryman, tank commander, poet, boxer, crime writer, and college professor. No bio-pic could contain so thronged a life. “ Miami Blues, ” published in 1984, four years before his death, was adapted into a sharp-witted thriller, with Alec Baldwin and Jennifer Jason Leigh, and I was praying for a repeat with “The Burnt Orange Heresy. ” Everything’s in place, and there’s not a weak link in the cast, with Debicki?lofty, playful, and unreadable?in especially beguiling form. The idea that art, like love, is something that you can make or fake, and that surprisingly few people can tell the difference, will always be ripe for exploration. And yet the movie stumbles. The book was set in Florida, and the prettifying switch to Italy adds languor but subtracts fever; even when the plot speeds up, in the final third, the atmosphere feels more hasty than intense, and the alluring promise of the early scenes, when you couldn’t tell if the hero was fooling the heroine, or vice versa, melts away. They should have stayed in bed. It’s been a while since whistling had a major role in a movie. Admirers of Hitchcock’s “ The 39 Steps ” (1935) will remember the earworm stuck in Robert Donat’s brain?the musical phrase that he couldn’t help whistling, and that returned to him, laden with fresh meaning, at the finale. Then there’s the emotional pick-me-up of “I Whistle a Happy Tune, ” as sung by Deborah Kerr (or, rather, by Marni Nixon, the queen of dubbing), in “The King and I” (1956). Now we have Corneliu Porumboiu’s “The Whistlers, ” the plot of which demands that the characters put their lips together and blow. Much of the tale is set in La Gomera, one of the Canary Islands. La Gomera is the ancient home of El Silbo, the nonverbal idiom by which its inhabitants have traditionally made contact across the island’s gullies and ravines. The component sounds of Spanish words, cut down to two vowels and four consonants, are conveyed by whistling, the trick being to curl your fingers against your mouth with one finger outstretched, as if your hand were a gun. That is how Cristi (Vlad Ivanov), a Romanian visitor to La Gomera, is taught the rudiments of Silbo by an expert, who explains, “If the police hear the language, they will think the birds are singing. ” Pastoral noir! The fact that Cristi is the police only proves what a heap of trouble he’s in. Still, he’s an ideal student of Silbo, being not just a quick learner but a taciturn sort, more likely to clam up than to spill. The less talking you do, in his line of work, the better. But what is that line? There’s no risk of my revealing what happens in Porumboiu’s film, because I remain, as I began, in the dark. All I can tell you is that Cristi’s a bent cop, based in Bucharest, and trying to operate on both sides of the fence. He has a scary superior, Magda (Rodica Lazar), who is battling corruption, although she, too, is prepared to flex the rules. That may be why her office is bugged. The official villains include a money-laundering gangster, Zsolt (Sabin Tambrea), and his girlfriend, Gilda (Catrinel Marlon), the woman who sleeps with Cristi in the interests of untruth. He warms to her, and, at one point, they communicate from afar in Silbo, as though it were a natural language of love. If Cristi were a Rita Hayworth fan, he would recall one of the first principles of cinema: Never, ever fall for anyone named Gilda.
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