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genres - Mystery
User ratings - 8,4 / 10
Cast - Bárbara Colen
Release Year - 2019
country - France, Brazil
Kleber Mendonça Filho, Juliano Dornelles
Critic’s Pick In this sensational genre whatsit, a town finds itself fighting for its very existence. (Good thing Sônia Braga lives there. ) Credit... Kino Lorber Bacurau NYT Critic's Pick Directed by Juliano Dornelles, Kleber Mendonça Filho Action, Adventure, Mystery, Sci-Fi, Thriller, Western 2h 11m The town in the shocker “Bacurau” is fictional, a bit magical, at once ordinary and otherworldly. It’s filled with faces that have life etched in them, which helps deepen the realism. And while the story is set in the near future, it looks like the present: the charming landscapes, laughing children, crowing roosters, the grinning balladeer with a guitar. Then, the guns come out, history rushes in and a ghost pops by. (It smiles. ) In the wild world of “Bacurau, ” queasy humor meets razor-sharp politics and rivers of blood. An exhilarating fusion of high and low, the movie takes a shopworn premise ? townsfolk facing a violent threat ? and bats it around until it all goes ka-boom. Part of what’s exciting is how the filmmakers marshal genre in the service of their ideas, using film form to deflect, tease and surprise. The movie looks and plays like a western but also flirts with dystopian science fiction and pure pulp: bang, bang, splat. By the time the cult actor Udo Kier rolls up it’s clear that anything gleefully goes. It’s also obvious that the writer-directors Kleber Mendonça Filho and Juliano Dornelles are having a good time, and they want you to have one too. Dornelles has worked as a production designer on Mendonça Filho’s movies, including his sui generis “Neighboring Sounds” and “ Aquarius. ” Their partnership proves seamless on “Bacurau, ” which flows despite a switch-backing story that starts with a truck bouncing along a remote highway, a woman riding shotgun. The countryside is green in the way of certain deserts, but empty coffins litter the road, along with a corpse. It is quite the enigmatic opener, a variant on those puzzlers that begin with a body sprawled on the parlor floor next to a bloody candelabrum. But there’s no clever detective to put the pieces together. (You have to do that yourself. ) There’s also no obvious narrative blueprint and precious little exposition. There are instead beauties, mysteries and characters, like that passenger, Teresa (Bárbara Colen), who arrives in Bacurau on the day of a funeral. As Teresa walks through the seemingly empty town, dragging a suitcase, she passes its boozy doctor, Domingas (Sônia Braga, the one and only). And then Teresa hails a man who pops a hallucinogen in her mouth. The filmmakers spend the first half of the movie introducing the town of Bacurau; they drop you in the middle of it ? without an evident story ? then nose around its streets and secrets. There’s a pretty white church, but it’s used for storage, and a sturdy little museum built of stone. More characters pop in, including Teresa’s sexy friend, Acácio (Thomas Aquino), who has bedroom eyes and a gun in his waistband. He may be a thief or an insurgent; it’s hard to tell. Bacurau’s younger inhabitants like to watch a recording of him executing people. It looks like a video game and this is the future, but life is still cruel, as is evident once more bloody corpses start piling up. In his earlier features, Mendonça Filho used different spaces and homes ? a middle-class neighborhood, a derelict plantation, an apartment threatened with demolition ? as conduits to ideas about history, community, surveillance and power. These same issues swirl through “Bacurau, ” which eventually settles into a brutal, disturbing story about haves and have-nots, a social division that Mendonça Filho and Dornelles make ferociously literal. This can be read as a metaphor about Brazil (and the inequities that trouble the larger world), but like Kurosawa’s “Seven Samurai” this is also a story deeply rooted in a precisely mapped place. That place is Brazil’s backcountry or sertão and, even more specifically, a quilombo, one of the many settlements originally founded by escaped enslaved people. In “Bacurau, ” the filmmakers have created a version of a settlement that Mendonça Filho, in an interview with Film Comment, called a “remixed quilombo”: “a black community, a historical place of resistance, but with some white, indigenous, trans and other inhabitants. ” When, midway through, some townspeople begin practicing capoeira ? a combat game that originated with enslaved Africans ? they are both communing with that history of defiance and readying for a new battle. Right before things heat up, two ominous strangers ride up to Bacurau. Like latter-day cowboys, they wander into a modest store filled with hanging animal carcasses and buzzing flies, a setting that’s as unassuming as it is skin-crawlingly creepy (much like this movie). When one of the strangers asks the female proprietor what the villagers are called, her son shouts “people! ” The proprietor then explains that the town is named for a bird, and the stranger asks if it’s extinct. Not here, the Bacurau woman says with a smile ? it comes out at night and it is a hunter. When the fight finally arrives it’s by turns absurd and horrifying. The second half of “Bacurau” is unsparing in its violence, filled with gunfire, terror in the night and revolutionary fervor that skews pathological. There’s a bandit in eyeliner, a fierce squirt (Silvero Pereira), and a gang of Americans right out of a Hollywood blowout. After an hour of silky camera moves, amusing details and a deep sense of history, Mendonça Filho and Dornelles switch gears, fold in a homage to John Carpenter and go berserk, unleashing a nightmare that’s all the worse for being eerily like life. Bacurau Not rated. In Portuguese and English, with subtitles. Running time: 2 hours 11 minutes.
Τα Γεράκια της Νύχτας Watch movie page. Τα Γεράκια της Νύχτας Watch movie page imdb. Bacurau Theatrical release poster Directed by Kleber Mendonça Filho Juliano Dornelles Produced by Emilie Lesclaux Saïd Ben Saïd Michel Merkt Written by Starring Sônia Braga Udo Kier Bárbara Colen Thomas Aquino Silvero Pereira Karine Teles Music by Mateus Alves Tomaz Alves Souza Cinematography Pedro Sotero Edited by Eduardo Serrano Production companies CinemaScópio Produções SBS Productions Globo Filmes Símio Filmes Arte France Cinema Canal Brasil Telecine Distributed by Vitrine Filmes (Brazil) SBS Distribution (France) Release date 15?May?2019 ( Cannes) 29?August?2019 (Brazil) 25?September?2019 (France) Running time 132 minutes Country Brazil France Language Portuguese English Box office $3. 4 million [1] Bacurau ( Portuguese for ' nightjar ') is a 2019 Brazilian Weird Western film [2] directed by Kleber Mendonça Filho and Juliano Dornelles. [3] It stars Sônia Braga, Udo Kier, Bárbara Colen, Thomas Aquino, Silvero Pereira and Karine Teles. The film, a co-production between Brazil and France, [4] [5] revolves around Bacurau, a fictional small town in the Brazilian sertão, which is beset by strange happenings following the death of its matriarch at the age of 94. It was selected to compete for the Palme d'Or at the 2019 Cannes Film Festival, [6] and won the Jury Prize. [7] [8] Cast [ edit] Sônia Braga as Domingas Udo Kier as Michael Bárbara Colen as Teresa Thomas Aquino as Pacote / Acacio Silvero Pereira as Lunga Thardelly Lima as Tony Jr. Rubens Santos as Erivaldo Wilson Rabelo as Plinio Carlos Francisco as Damiano Luciana Souza as Isa Karine Teles as Foreigner Julia Marie Peterson as Julia Production [ edit] Filming [ edit] Bacurau was filmed in the village of Barra in the municipality of Parelhas and in the rural area of the municipality of Acari, at the Sertão do Seridó region, in Rio Grande do Norte. [9] Reception [ edit] On review aggregator Rotten Tomatoes, the film holds an approval rating of 90% based on 125 reviews, with an average rating of 7. 76/10. The website's critical consensus reads, "Formally thrilling and narratively daring, Bacurau draws on modern Brazilian sociopolitical concerns to deliver a hard-hitting, genre-blurring drama. " [10] On Metacritic, the film has a weighted average score of 82 out of 100, based on 25 critics, indicating "Universal acclaim". [11] Release [ edit] It was released by Vitrine Filmes in Brazil and SBS Distribution in France. Its North American release was interrupted by the Covid-19 pandemic, prompting the distributor Kino-Lorber to seek alternate means. It created a "virtual cinema" distribution model in which it partnered with some 150 independent theaters in North America. The first run of the film streams in an exclusive limited release window through the theatre's websites. Kino-Lorber shares the revenues with the theatres. [12] References [ edit] External links [ edit] Bacurau on IMDb.
ÎÎ Î?Î?Ï?άκÎ?Î Ï?ÎÏ? Î?Ï?Ï?Ï?ÎÏ? Watch movie database. Virtual screenings of Bacurau are now available! In partnership with Kino Lorber, we are pleased to offer our Film at Lincoln Center audience the chance to see the extraordinary Brazilian film Bacurau, which was playing in our theaters last week, at home. Even as our theaters remain temporarily closed, the cinematic experience continues via Kino Lorber’s new virtual theatrical exhibition initiative, Kino Marquee. This at-home screening purchase will support FLC, and help us in our mission to remain a vibrant center for cinema culture once this turbulent period is behind us. This offer is for a limited time only. A vibrant, richly diverse backcountry Brazilian town finds its sun-dappled day-to-day disturbed when its inhabitants become the targets of a group of armed mercenaries. The perpetrators of this class warfare, however, may have met their match in the fed-up, resourceful denizens of little Bacurau. Those who remember Kleber Mendonça Filho’s wonderful NYFF54 crowd-pleaser Aquarius starring Sônia Braga?who appears here in a memorable supporting role?might be surprised by the new terrain and occasional ultraviolence of his latest, codirected with his longtime production designer Juliano Dornelles. Yet this wild shape-shifter shares with that film the exhilaration of witnessing society’s forgotten and marginalized standing up for themselves by any means necessary. With references to the fearless genre works of John Carpenter, George Miller, and Sergio Leone, Bacurau, winner of the Jury Prize at the Cannes Film Festival, is a vividly angry power-to-the-people fable like no other. Also starring Udo Kier, Karine Teles, Bárbara Colen, Thomas Aquino, and Silvero Pereira. A Kino Lorber release.?An NYFF57 selection. Check out a pair of conversations with the Bacurau team from the 57th NYFF below.
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It seems like movies about class and inequality are experiencing a moment. From “ Knives Out ” at home and “ Parasite ” abroad, these films force us to look at those who have it all and those who have everything to lose in stark contrasts. In “Knives Out, ” its a question of privilege and nativist indifference to workers and immigrants. For “Parasite, ” the tales of two families?one rich and one poor?become intertwined in a thrillingly suspenseful story. Juliano Dornelles and Kleber Mendonça Filho ’s latest film “Bacurau” fits right in with the trend and takes its social self-examination a step further, indicting the lasting harm of colonialism, corrupt politicians, and American imperialism in a fight-to-the-death bloodbath. In the near future in a remote corner of Brazil lies the town of Bacurau, an arid but tree-lined place that Teresa ( Bárbara Colen) calls home. She returns for her grandmother’s funeral but is disturbed by strange occurrences also unnerving her neighbors. Water has been stopped to the city for months, but the trucker who brings their supplies has his rig shot at. Suddenly, the town disappears off of maps and GPS. Cell phone service disappears. An odd couple of strangers bike through town. One villager spots a UFO. Are they under attack? The answer is a bit of a spoiler, and I urge anyone who wants to go into “Bacurau” to enjoy its twists and turns to stop reading here. Otherwise, venture on. Written and directed by Dornelles and Mendonça Filho, “Bacurau” brilliantly balances politics and story. It almost lulls the viewer into the sense that the movie will be about the town’s collection of eccentric characters, like a deep-voiced DJ who acts as the town crier from his mobile set of speakers and the stern-faced Domingas ( Sônia Braga), who makes her first impression in the movie as a doctor in a drunken rage hurling insults at Teresa’s recently departed grandmother. There’s also Pacote ( Thomas Aquino), an old flame of Teresa’s, her teacher father and the adorable children in his classroom. Later, we meet the mulleted fugitive fighter Lunga ( Silvero Pereira), who will order the townsfolk into shape. There’s even a corrupt politician, Tony Junior ( Thardelly Lima), who neglects to care for the town or its people. The politician’s ineptitude and callousness is just a warm-up act for the real villains, a pack of blood-thirsty westerners led by a steely-eyed man named Michael ( Udo Kier) who have picked on the poor town as their own shooting range. "Bacurau"?does an incredible job of dissecting their open contempt for human life and racism without sacrificing an inch of the narrative. They are the allegorical stand-in for the ruthless businesses that have come to bleed Brazil dry and let its people starve. They are white invaders who do not consider the light-skinned Brazilians who try to ingratiate themselves into their cohort as their equals. The armed hunting party considers the mixed-race town of Bacurau as little more than a target. It’s a chilling metaphor that works on many levels. As shot by cinematographer Pedro Sotero, “Bacurau” is a colorful variation on “Seven Samurai, ” but there are no experienced warriors coming to the rescue here. Instead, the villagers must fight for their lives against encroaching forces and selfish politicians who will sell them out. Rita Azevedo ’s outfits in “Bacurau” range from the white coats or dresses of matriarchal characters, the townsfolk’s mishmash of multicolored tank tops and shirts, the camo gear of the hobby hunters playing dress-up and Lunga’s “Mad Max”-meets-clubwear look. Editor Eduardo Serrano ’s compositions are both transfixing and unnerving, as?quick edits of villagers taking drugs intersperse through both tense and slow moments in the film. Mateus Alves and Tomaz Alves Souza mix an eclectic collection of electronic and Brazilian sounds and music to enhance the movie’s sense of place and futurism. “Bacurau” never wastes a chance to leave a mark on its audience. Whether the camera is taking in the beautiful steppes of the area or witnessing a battle of the wills between Braga and Kier, the viewer is always meant to be entertained and thinking. The movie is potent with rage from end-to-end. It's mad from loss, mad at the failed government official (a pointed message considering the current heated state of Brazil’s conservative leadership), mad at the brutality that is brought to their doorstep by well-healed outsiders. Yet, there is strength and power in numbers, and there is a reverberating message throughout the film of community and solidarity in the face of so much oppression. It’s a message that needs no translation, and one we may catch in more movies protesting inequality. Monica Castillo Monica Castillo is a freelance writer and University of Southern California Annenberg graduate film critic fellow. Although she originally went to Boston University for biochemistry and molecular biology before landing in the sociology department, she went on to review films for The Boston Phoenix, WBUR, Dig Boston, The Boston Globe, and co-hosted the podcast “Cinema Fix. ” Bacurau (2020) Rated NR 132 minutes about 4 hours ago 2 days ago.

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