10 de outubro de 2008

Esses esboços, pobres esboços

BLOG, Cinema, Festival do Rio 2008

Por Arnaldo Branco

Algumas amostras do caderno de rascunhos que levei para a cerimônia de premiação do Festival, desculpem a letra e a infâmia.

10 de outubro de 2008

A morte careca

BLOG, Cinema, Festival do Rio 2008

VERMELHO SANGUE
(”Profundo Carmesí”, Arturo Ripstein, México/Espanha/França, 1996)

Por Fernando Gerheim

Em “Vermelho sangue”, Arturo Ripstein volta sua câmera mais uma vez pras árvores tortas da floresta. É um filme muito mexicano, como os outros da mostra em sua homenagem, que destoa da imagem uníssona que hoje quer fazer todo cinema parecer igual.
O personagem Nicolas (Daniel Gimenez Cacho) afeta sotaque, fingindo ser espanhol. Ele põe anúncios pra atrair mulheres de meia-idade e roubá-las, e certo status ajuda.
Coral (Regina Orozco) é uma mulher gorda, carente, com dois filhos, que cuida de pessoas idosas, lê revistas de fofoca e admira o galã Charles Boyer. Quando ela encontra Nicolas, acha-o parecido com o ídolo.

Em vez de frios psicopatas de filme americano (o último dos irmãos Cohen, por exemplo), eles são tão humanos quanto qualquer um. Até demais. Coral precisa de alguém pra amar, e se Nicolas não a quiser, cometerá suicídio (melodrama… muito mexicano). Nicolas sai de si quando perde a peruca.
Colral dá os filho pro orfanato, passa a fingir ser irmã de Nicolas e essas duas figuras dignas de Nelson Rodrigues se juntam pra aplicar os golpes. Mas ela não agüenta ver ele com as outras. Mata a primeira num impulso, pondo veneno de rato no drinque (mais uma vez o raticida, como em “O castelo da pureza”, muito mexicano). A segunda é uma viúva carola, porém fogosa (Marisa Paredes). Carol intromete-se, põe a mão entre as pernas de Nicolas (“Ele é meu!” “Ele é meu!”). A viúva, chocada (Incesto! Incesto!), ajoelha-se e começa a rezar. Nicolas também surta, gritando pra ela parar com aquela cantilena pelo amor de Deus. Coral golpeia-a com a escultura de Nossa Senhora de Guadalupe (muito mexicano).

A terceira é jovem, muito bonita, mais rica que as outras, com uma filha pequena, e vive fora da cidade, num descampado de velho-oeste (muito mexicano). Ela bem poderia fazer Nicolas, que chega a fazer sexo com ela, mudar de vida. Confuso, Nicolas bebe, fica de ressaca, e como sempre ocorre nos seus momentos de fragilidade emocional, perde a peruca. Implora perdão a Coral, que o faz esfaquear a outra. Mas a criança, que assistia a tudo, não pára de chorar. Nicolas dá a idéia e Carol a afoga na banheira. A memória de seus próprios filhos, porém, a desestabiliza; é difícil dizer se é um lampejo de lucidez ou de loucura que a faz sentir-se culpada e ligar pra polícia.

É o fato de ver o ser humano por trás da imagem (sem peruca, sem Charles Boyer) que faz a diferença.
Nicolas pede ao delegado pra devolver-lhe a peruca, pois a imprensa vai chegar, e sabe como é, esses jornalistas procuram sempre o lado mais apelativo. Eles são levados pro descampado.
“Podem ir”, ordena o delegado com jeito de sargento Garcia, ao lado dos outros meganhas.
Coral quer fugir.
“Não vamos correr como animais”, pede Nicolas.
“Está bem. Estou feliz. É o momento mais feliz da minha vida.”
A polícia atira. Eles caem mortos sobre a poça.

10 de outubro de 2008

Noite de premiação

BLOG, Cinema, Festival do Rio 2008

Por Eduardo Souza Lima

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Para o nosso crítico da Première Brasil, festival não é uma caixinha de surpresas. Conforme as previsões do Luiz Henriques, os grandes vencedores da noite de ontem, no Odeon, foram “Se nada mais der certo” e “A Festa da Menina Morta”, com dois Rendentores cada. José Eduardo Belmonte subiu ao palco para receber o de melhor filme (assista aqui) e Caroline Abras, o de melhor atriz, pelo primeiro. Matheus Nachtergaele comemorou cantando (aqui) o prêmio de melhor direção pelo último, que ainda deu a Daniel Oliveira o de melhor ator. Mas a vitória mais cantada da Première foi a de melhor longa-metragem de ficção do júri popular de “Apenas o fim”, de Matheus Souza, estudante da PUC: a sessão de votação do filme estava apinhada de colegas de faculdade do diretor. Não é de hoje que nesta categoria o festival premia não mérito artístico, mas capacidade de mobilização; e só estudante tem tempo livre num dia de semana à tarde para ir ao cinema. “Apenas o fim” também mereceu uma menção especial do júri oficial (veja aqui); critérios artísticos também não prevaleceram, foi um claramente um reconhecimento ao esforço da rapaziada, que levantou uma produção independente. O pessoal está realmente de parabéns, mas cabe uma digressão: há alguns anos o mesmo festival exibiu “Conceição”, feito por alunos da UFF, ainda com maiores dificuldades. Era um filme malcriado, não causou tanta comoção.

Como vai reparar o leitor neste vídeo, a Zé Pereira também já sabia que “Estrada Real da Cachaça”, de Pedro Urano, levaria o prêmio de melhor documentário; o de melhor direção foi para Helena Solberg, por “Palavra (En)cantada”. No volto popular, deu “Loki, Arnaldo Baptista”, de Paulo Henrique Fontenelle, primeiro longa-metragem produzido pelo Canal Brasil. Entre os curtas, os vencedores foram “69 – Praça da Luz”, de Carolina Markowicz e Joana Galvão (melhor documentário), “Blackout” , de Daniel Rezende (melhor ficção), e “Urubus têm asas”, de André Rangel e Marcos Negrão (voto popular). “Somos todos diferentes” (”Taare Zameen Par”), de Aamin Khan, levou o prêmio do júri popular da Mostra Geração e um jornalista argentino subiu ao palco como se estivesse em Buenos Aires para anunciar que “A mulher sem cabeça”, de Lucrecia Martel, ganhou o Fipresci, do Júri da Federação Internacional da Imprensa, de melhor filme latino-americano.
O grande momento da noite foi a entrega do Prêmio Especial do Júri ao documentário “Jards Macalé - Um morcego na portal principal”. Fazendo jus ao documentado, os diretores João Pimentel, o Janjão, e Marco Abujamra estavam no Verdinho na hora em que foram chamados (vídeo acima) e fizeram uma entrada triunfal no Odeon. Como diria o Janjão, foi bizarro.
Assista abaixo aos comentários de nosso Rubens Ewald, o Luiz Henriques.

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9 de outubro de 2008

Uma coisa é uma coisa, outra coisa é outra coisa

BLOG, Cinema, Festival do Rio 2008

Por Gustavo Acioli

As expressões “filme de arte” e “cinema de arte” têm sido a Geni do cinema brasileiro nos últimos anos, sendo sempre tratadas como sinônimo de fracasso de público e de renda.

Essas questões são todas muito relativas quando se fala de cinema. Todos sabem que o maior sucesso brasileiro de bilheteria foi o filme “Dona Flor e seus dois maridos” (Bruno Barreto, 1976), com aproximadamente 12 milhões de espectadores. Todos sabem também que o maior artista do cinema brasileiro até hoje, gostem ou não, é Glauber Rocha, e que sua obra-prima é “Terra em transe” (1967). Pergunto: de lá pra cá, qual dos dois filmes teve o maior número de re-exibições? Nos últimos 30 anos, qual teve maior público?

Houve um tempo em que as pessoas esperavam pelo próximo filme de alguns diretores. Que diretor brasileiro, hoje, tem seu próximo filme ansiosamente aguardado pelos amantes do cinema?

A ousadia, o risco, a inventividade, a sinceridade, a honestidade intelectual e o talento sempre serão recompensados em alguma medida. Van Gogh que o diga. É preciso tratar das coisas com uma perspectiva histórica, uma perspectiva de futuro e, sobretudo, com grandeza. Querem apequenar o cinema brasileiro. Querem reduzi-lo ao tamanho dos seus resultados de bilheteria. Se for assim, ele some.

9 de outubro de 2008

Idéias em movimento

BLOG, Cinema, Festival do Rio 2008

O CASTELO DA PUREZA
(”El castillo de la pureza”, Arturo Ripstein, México, 1974)

Por Fernando Gerheim

O limite entre o idealista e o ditador é tênue. Gabriel Lima, personagem de “O Castelo da pureza” (1974), de Arturo Ripstein, batizou seus filhos de Utopia, Porvenir e Voluntad. Ele os mantém trancados em casa junto com a mãe Beatriz, que lhes conta histórias do mundo lá fora como se fossem fábulas. Para poupar a família do contato com a sociedade, o próprio pai a educa. Seu método pedagógico é rigoroso. Ele a faz repetir em coro frases de Goethe, Chesterton e outros luminares do humanismo. O patriarca ganha o leite das crianças vendendo o super-eficiente veneno de rato artesanal que a família fabrica unida. Mas, quando algo escapa ao seu controle ou alguém o desobedece, ele dá ataque, põe de castigo, chicoteia. Em seus acessos, compara o animal que ajuda a exterminar ao homem.
Os cenários e interpretações são realistas. O diretor não interfere no dispositivo. Mas a história parte de um princípio que reconfigura de modo tão radical o mundo com a ficção que “propõe”, que o realismo serve para potencializar a estranheza. O cinema de Ripstein desloca o valor do tecnicamente bem-feito, do jargão “eu só quero contar uma história”, do compromisso de agradar o público, da noção de que é preciso tremer a câmera, apelar para o sensorial, cortar freneticamente ou fazer planos longos etc.. Foi uma atitude acertada da Federação Internacional de Críticos de Cinema dar a ele o prêmio de Personalidade Latino-Americana porque seu cinema aponta para algo sub-valorizado: a idéia.

O cinema tem modismos, mas não regras. Como boa cria do surrealismo, Ripstein demonstra que a regra e a fórmula são subprodutos do idealismo. E que este está presente no cotidiano, infiltrado na linguagem, sedimentado nas instituições, sedando os sentidos.
O filme, de 1974, poderia se passar em qualquer cidade do mundo, mas tem um significado especial na Cidade do México, com uma superpopulação de ratos, animal que, como prega a lei capitalista do excedente de produção, se reproduz muito e rápido. O seu “castelo da pureza”, porém, começa a ruir.

O filme é um exemplar de cinema fantástico que joga luz sobre as atuais questões formais e de novos modelos narrativos. Enquanto o realismo quer dar à realidade outras camadas a posteriori, ele já pressupõe um princípio anti-realista (mesmo “A rainha da noite”, de 1994, é apresentado como uma “biografia imaginária”), e segue o modelo narrativo tradicional como um vaudeville. Isso ocorre porque, no fundo, aí está uma maneira diferente de resolver a questão dos estatutos da realidade e da ficção, que parece tão cara ao cinema contemporâneo. O cinema de ficção em geral parte do pressuposto de que a realidade está lá, e ele vai tematizar algum aspecto dela, talvez testemunhá-lo. A questão, do ponto de vista do documentário, é vista como o documentarista necessariamente intervindo no que documenta e assumindo isso. No cinema de Ripstein, o que a câmera capta é uma realidade anti-realista, alucinada, já entrelaçada com o artificial da linguagem na sua raiz.
A idéia é mais forte porque ela não é uma forma; pelo contrário, ela é o movimento. Cinema não move imagens, mas idéias.

9 de outubro de 2008

O pódio da Première Brasil

BLOG, Cinema, Festival do Rio 2008

Por Luiz Henriques

E agora o pódio da é Zé Pereira (da qual este blogueiro faz parte) dos melhores filmes da mostra competitiva da Première Brasil deste ano. De se notar que, à exceção de “A Festa da Menina Morta” (foto), praticamente todos os outros longas da competição parecem abordar mais o universo de referências pop e culturais dos autores do que o universo de seu cotidiano real. “Rinha”, “Vingança”, “Verônica”, “Apenas o fim” e, de certa forma, “Se nada mais de certo” abdicam de sinceridade e preferem mostrar um mundo estilizado filtrado por seu amor ao cinema, aos quadrinhos e aos seriados de tevê com o qual cresceram, uma tendência que, para o bem e para o mal, moldou a produção brasileira dos anos 80 e que volta agora com força total depois de um período mais regionalista e engajado. “Juventude” escapa desta fórmula, mas cai na do próprio Domingos de Oliveira, que usa o formato confessional desde “Todas as mulheres do mundo” e principalmente depois que adaptou os diários de sua filha para o megahipersucesso teatral “Confissões de adolescente”. Hoje a gente acompanha a cerimônia de encerramento do festival e amanhã, publica a decisão do júri oficial.

1. A Festa da Menina Morta

O ritmo lentíssimo e a rigidez formal vão levar boa parte do público a urrar em agonia, mas, ao contrário de muitas fitas onde tais atributos têm apenas a função de conferir solenidade e intimidar o público, Matheus [AUTOTEXTO] tem um objetivo aqui – refletir a miséria e a ritualização religiosa da vida no Alto Cafundó do Judas. Com a temática mais original e complexa da mostra este ano, abordando religião (e, por extensão, a arte), messianismo (e, por extensão, a estrela) e miséria, o filme ainda apresenta a belíssima fotografia de Lula Carvalho. O grande senão para o imenso quadro de críticos especializados deste saite é o incesto homossexual, no qual nenhum dos nossos muitos especialistas viu qualquer outra função a não ser a de chocar.

2. Se nada mais der certo

Jornalista de classe média meio marginal - e paulista! - pode soar redundante e um enorme risco, ainda mais juntando a isso pequenos traficantes, travestis, personagens deprimidos e um discurso contra vender-se ao sistema (e ainda por cima com câmera tremida, desfocada e edição nervosa). Só sair ileso dessa premissa é um feito e tanto, mas José Eduardo Belmonte vai além e consegue prender a atenção do público mostrando sinceridade nas relações afetivas dos carentes personagens principais e verossimilhança nessa misturada de referências culturais pop típica dos anos 80.

3. Vingança

“Vingança”, “Rinha”, “Verônica” e “Apenas o fim” radicalizam o que se comentou acima e mostram a tremenda influência das referências culturais de seus autores. “Verônica” trafega por terreno delicado ao usar realidade brasileira como pano de fundo para um thriller e perde para os outros por ter contado com imensamente maiores recursos de produção. “Apenas o fim” tem grandes cenas e diálogos, mas contou com zero recursos de produção (é um projeto de um estudante de cinema de 19 anos!) e isso é visível. O nosso descomunal quadro de críticos portanto acabou se dividindo entre o esfuziante “Rinha”, com uma proposta mais abarcante, e o conciso e pequeno “Vingança”. Ambos às vezes escorregam nos clichês, mas a maior precisão deste e a menor quantidade de recursos (grana, sempre a grana) o fazem empatar com a visualmente mais interessante e movimentada fita sobre festas, violência, humor negro e jiujutecas.

9 de outubro de 2008

Repescagem e maratona

BLOG, Cinema, Festival do Rio 2008

Amanhã tem a já tradicional Maratona do Odeon, com a exibição de três filmes do festival, “O bom, o mau, o bizarro (”The good, the bad, the weird”), “Call girl” e o filme da Madonna “Sujos e sábios” (”Filth and wisdom”), a partir das 23:20, nessa ordem aí, com ingressos a R$ 20, com direito a bolo e lounge com o DJ Jorge Luiz. Amanhã também começa a repescagem do festival, que vai exibir até quinta-feira filmes como “Velha juventude” (”Youth without youth”, foto), do bom e velho Francis Ford Coppola. Leia a programação completa nesse (leia mais…) aí embaixo. Os ingressos custam R$ 13.

leia mais…

9 de outubro de 2008

Escrevendo um 4

BLOG, Cinema, Festival do Rio 2008

Por Allan Sieber

O filme ainda passa hoje, às 21h, no Estação Botafogo 3, mas também está na repescagem do festival.

9 de outubro de 2008

Uma canção ao cair da tarde: “A vez do Brasil”, Flu

BLOG, Festival do Rio 2008, Uma canção ao cair da tarde

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Mais uma do Zé Fernandes da Zé Pereira - tudo bem, a gente dá um desconto, o cara não deu muita sorte este ano -, do CD “No Flu do mundo”. Conheça mais o trabalho de nosso músico crítico aqui. O videoclipe é do Zaracla.

9 de outubro de 2008

Doidão de amor

BLOG, Cinema, Festival do Rio 2008

Dessa, o nosso crítico da Première Brasil, o Luiz Henriques, não gostou: dizendo-se apaixonado por uma atriz (não temos a menor idéia de quem seja, procurem saber na “Caras”), o ator Pedro Cardoso surpreendeu a platéia de “Todo mundo tem problemas sexuais” - exibido ontem, às 20h, no Odeon, como hours concours da Première Brasil - ao ler um libelo-denúncia de sua própria lavra contra a nudez no cinema e na TV: “Os atores são coagidos a interpretar cenas de nudez forçada no cinema e na TV (pelo jeito, ele absolveu o teatro) e as pessoas fingem que não está acontecendo nada (…) Depois, nossos filhos são obrigados a responder perguntas constrangedoras na escola (…) um ator nu está despido do personagem. Então, quem está nu não é o personagem, mas o ator. A pornografia inibe a interpretação”, disparou contra o embasbacado público.

Sei não, esse protesto parece meio fora de época, se ainda fosse nos tempos da pornochanchada… Fora que ninguém é obrigado a fazer o que não quer.

Louco de amor, Cardoso ainda acusou diretores de exibirem cenas mais “quentes” em festinhas para os amigos. Minha Santa Aqueropita! Aí já não seria o caso de processar os caras?

9 de outubro de 2008

O estouro da bolha

BLOG, Cinema, Festival do Rio 2008

SAD VACATION
(”Saddo Bakeishon”, Shinji Aoyama, Japão, 2007)

Por Antônio Rogério da Silva

A máfia japonesa, Yakuza, tem sido um tema recorrente na atual cinematografia do Japão. Aos poucos foi substituindo os ninjas e samurais do cinema tradicional para se tornar um gênero específico, entre os policiais. “Sad vacation” – “férias terríveis” na tradução literal -, de Shinji Aoyama, acrescenta ainda o preocupante tráfico de humanos promovido por quadrilhas chinesas. Esse ambiente sombrio serve de cenário para o desenrolar de uma intricada história de relacionamento familiar e de convivência entre as pessoas.

Kenji (Tadanobu Asano) teve sua vida transformada depois que sua mãe (Eri Ishida) abandonou a família. O pai se matou, o próprio Kenji cometeu um assassinato que levou um amigo mafioso assumir o crime. Desde então passou a cuidar da irmã e mais tarde de uma criança chinesa resgatada de um grupo de imigrantes ilegais que transportava para dentro do Japão. Por conta disso, passou a ser perseguido pelos contrabandistas chineses e em sua fuga acaba por reencontrar sua mãe, que agora está casada com Mamiya (Ken Mitsuishi), o benevolente dono de uma transportadora, na qual começa a trabalhar como motorista. Obstinado por sua sede de vingança, Kenji mata Yusuke Mamiya (Kengo Kora), seu meio irmão, quebrando a harmonia existente na empresa familiar, que mantém empregados com passados problemáticos.

O complexo roteiro de Aoyama, embora seja bem conduzido, tem dificuldades para se resolver devido à multiplicidade de tramas paralelas. Tudo evolui como a apropriada metáfora de uma bolha que infla ao máximo e estoura sobre todos os personagens no final do filme. Uma imagem que, por vias tortas, simboliza bem a situação do mundo atual.

A mostra 100 anos de Migração Japonesa se encerra hoje com a exibição de “Sukiyaki Western Django” (2007), de Takashi Miike, uma delirante adaptação dos westerns de Sergio Corbucci (1927-1990) ao Japão feudal. Mais um representante do pitoresco filão do “western sushi” aberto por “A alvorada de Billy the Kid” (1986), de Genichiro Takahashi e Naoto Yamakawa - às 15:45h e às 20:25h, no Estação Barra Point 2. Em tempo, Miike contou com a participação especial de Quentin Tarantino no papel de Ringo.
Bom filme, arigato, saionara!

9 de outubro de 2008

A crueldade da arte

BLOG, Cinema, Festival do Rio 2008

CANÇÃO DE BAAL
(Helena Ignez, Brasil, 2008)

Por Luiz Henriques

O enviado especial Antônio Rogério da Silva achou as composições reminiscentes da era pré-som e não gostou da história, por isso que achou que o filme teria sido melhor se mudo, ainda que visualmente esplêndido. É que ele esqueceu que cinema é uma arte visual e se o visual é bom, metade do caminho já foi.

E quando se fala que o visual de “Canção de Baal” é muito bom, não se está querendo dizer que “a fotografia é bonita”, famosa frase que corresponde ao beijo da morte, como muito bem definiu o cartunista e resenhista deste grande saite (e do dele, é claro), Arnaldo Branco. Não, a fita não só tem bela fotografia e iluminação como conta com excelentes enquadramentos, ótima direção de arte e grandes locações, a maioria aparentemente no meio do mato. Ah, sim, e ainda tem belas e muitas mulheres bonitas sem roupa e carinhosamente fotografadas (para as moças e alternativos, tem também éfebo pelado).

E, se você realmente saiu de casa para ir ao cinema ver a estréia na direção de Helena Ignez, grande musa do cinema udigrudi, viúva do brilhante Rogério Sganzerla, certamente sabia no que estava se metendo. Um ar contracultural anos 70, Brecht, Einstein e um hippie velho ao mesmo tempo fracassado e bem-sucedido, genial e farsante, amoroso sedutor e perverso pústula. Arte não sobrevive sem crueldade e é impossível amar sem magoar e quando o poeta e cantor Baal com sua voz roufenha ataca suas canções, revela todas as suas facetas, incluindo o lado negro da Força.

Os diálogos não têm nenhum realismo e a narrativa nenhuma linearidade, mas conhecemos e entendemos os personagens (e as personagens! Sem roupa!) e o filme é extremamente fiel e bem-sucedido em sua proposta contracultural udigrudi hippie alternativa easy rider marginal de mimeógrafo. De tão retrô a fita é até capaz de agradar os moderninhos cínicos negativistas materialistas céticos. Já pra quem já é chegado na coisa, vai dar uma vontade terrível de juntar os amigos e se mandar pra São Pedro da Serra, pra ficar tomando cachaça, ouvindo música e planejando como mudar o mundo.

P. S.: Pouco antes da projeção, alinhou-se frente à tela a equipe de produção e algumas das belas atrizes que iriam encantar a fita logo depois. Entre as muitas jovens, uma chamava a atenção por ser extremamente parecida com a Beth Goulart. Bastou rolar os créditos para se perceber que não era só parecença, era a própria, embora por todos os cálculos lunares e solares ela devesse ter mais de 40 anos e não apenas os vinte e poucos que levou ao cinema. Não foi só Christiane Torloni que descobriu o segredo da eterna juventude. Pena que ela não se juntou à turma depois no Verdinho da Cinelândia.

A última chance de ver o filme (no festival, é claro) é hoje, às 16:30h, no Cine Glória.

9 de outubro de 2008

Todos os nossos fracassos cinematográficos

BLOG, Cinema, Festival do Rio 2008

por Arnaldo Branco

Fui assistir alguns filmes nacionais nesse festival: Os longas “Se nada mais der certo” (José Eduardo Belmonte), “Verônica” (Maurício Farias), “Romance” (Guel Arraes); além dos curtas “Maridos, amantes e pisantes”, “Cotidiano”, “Se não fosse o Onofre” (Érica Mader) e do documentário “Contratempo” (Malu Mader e Mini Kerti). Nem achei tudo miseravelmente patético, mas sou engenheiro graduado em prospecção de defeitos. À luz das minhas anotações feitas na sala escura, tente relacionar cada trecho de crítica ao filme correspondente ;)

“O filme … é mais como uma experiência do campo das artes plásticas: é uma tela em branco estendida em frente ao público durante todo o tempo de projeção, com a desvantagem de não haver outro quadro na galeria”

“A atriz … está sempre com um olhar fofo-brejeiro-arregalado-psicopata-amélie-poulain”

“O ator-mirim …, uma máquina de repetir Eu quero a minha mãe em várias gradações de irritabilidade, parece estar eternamente desafiando o grupamento de um corredor polonês de cascudo”

“… por isso a classe média se volta para os miseráveis, senão filmariam o que? Uma guerra de toalha molhada no vestiário de um colégio particular?”

“O amadorismo está muito bem representado por essa comédia que agradou muito quem queria conversar no cinema”

“Why so tedious?”

“A platéia aplaudiu muito cada parente que apareceu nos créditos”

9 de outubro de 2008

Rostos por trás dos números

BLOG, Cinema, Festival do Rio 2008

Por Eduardo Souza Lima

As últimas palavras de “Esse homem vai morrer – Um faroeste caboclo” são “a Irmã Dorothy vai morrer”, ditas pela atriz Dira Paes. Mesmo que ditas depois do assassinato da religiosa, têm tom profético. “A gente tinha material filmado dela, era bastante impressionante, mas decidimos não usar quando ouvi dizer que estavam rodado o ‘Mataram a Irmã Dorothy’ e porque achei que tínhamos personagens tão importantes quanto ela e não tão conhecidos. Embora o filme tenha sido feito depois de sua morte, antes mesmo de filmar a gente sabia que isso ia acontecer”, disse o diretor Emilio Gallo (à esquerda), no Cine Encontro ontem, no Galpão da Ação da Cidadania. “Esse homem vai morrer” narra fatos acontecidos nos anos 80 e 90 em Rio Maria, quando circulava pela cidade uma lista de 14 pessoas que tiveram suas mortes encomendadas a pistoleiros. De 1992 para cá, não houve mais assassinato de liderança camponesa e sindical em Rio Maria, mas sua história é muito parecida com a de outras cidades do sul do Pará.

O documentário é centrado na figura do padre Ricardo Rezende (à direita), que estava com a cabeça a prêmio e foi obrigado a fugir para o Rio. Ele também participou do debate: “A reforma agrária saiu de moda. Hoje, até setores e intelectuais de esquerda dizem que ela não é mais necessária, que a nossa produção agrícola é suficiente, que não existe latifúndio improdutivo e que a população do campo é pequena. Só que a questão agrária não é só econômica, mas humana. Quando se trabalha com números a gente esquece que por trás deles há um rosto. E o filme dá rosto a essas pessoas. A morte de João Canuto foi decidida numa reunião com os prefeitos de Xinguara, de Conceição do Araguaia e de Rio Maria e empresários locais, regada a uísque. De um lado, há um grupo armado, que muitas vezes tem a polícia do seu lado. Do outro, aqueles que lutam pela vida”.
O fato de não haver mais assassinatos por encomenda em Rio Maria é uma mostra de que ainda é possível se fazer algo. É um sinal de esperança deixado pelo filme.

Você pode assistir aos debates do Cine Encontro aqui, ou no portal Puc-Rio Digital.

9 de outubro de 2008

Com Monty Python e outras coisas nas idéias

BLOG, Cinema, Festival do Rio 2008

GLÓRIA AO CINEASTA
(”Kantoku Banzai!”, Takeshi Kitano, Japão, 2007)

Por Luiz Henriques

A primeira fita que chamou a atenção pro Takeshi Kitano aqui no Rio foi “Hana-Bi, Fogos de Artifício”. Depois um dos primeiros títulos em DVD e que hoje se encontra por 9,99 no balcão de ponta de estoque foi “Brother”. Os dois são longas violentos de polícia (aquele) e ladrão (este). Kitano ainda fez o cabecíssimo “Dolls” (filme de coração do valente editor desta revista-saite, Zé José), mas como o Telecine Cult, na época em que não passava só a programação do Estação com um ano de atraso, mostrou em um festival, o sujeito fez um monte de comédias, algumas bem rasteiras, apesar da aparência de quem desconhece o que signifique a palavra “humor”. Em suma, uma espécie de Renato Aragão que de repente começou a fazer filme sério, um Woody Allen com talento mesmo.

Pois alguma coisa deve ter acontecido, tipo ele levou um pé na bunda, ficou meio arrasado e resolveu se trancar em casa algumas semanas com uns DVDs do Monty Python, de uns filmes-cabeça e nos intervalos entre os disquinhos ficou zapeando e vendo os animês e programas de auditório, tudo regado a bastante substâncias estupefacientes, que ninguém deve consumir, pois seria uma infração da Lei e estaria ainda por cima financiando o crime organizado. Aí, no meio da fumaça e da sala escura, o Kitano ficou com o pensamento nostálgico, lembrando como eram bons os tempos em que ele ficava fazendo aquelas comédias, como as coisas eram mais fáceis naquela época… e resolveu fazer uma. Detonando filmes-cabeça, os arrasa-quarteirão de bilheteria, ele mesmo, com um jeitão Monty Python, mas com aquelas coisas de cultura pop bem japonesa, saca assim? “E como é que a gente vai chamar isso”, perguntou o japa doidão fumando com ele. “Glória”, respondeu o Kitano. “Não aguento mais você falando dessa mulher”, respondeu o interlocutor, “mas ela tinha que voltar pra mim… de que adianta ser cineasta sem ela?” “Por que você não chama o filme de ‘Glória ao cineasta’ pra ela se tocar que você ainda sente falta dela?”

E assim começou a produção. O filme sacaneia Ozu (em preto-e-branco e com câmera parada, parando a história no meio porque hoje em dia ninguém aguenta ver pessoas tomando chá e saquê durante meia hora), as fitas de Yakuza do próprio diretor, os chineses voadores e os super-samurais, a enxurrada do terror japa, até o final over-over-over-over-over-over-(…)-over-over-over, com piadinhas que lembram o estilo absurdo e exagerado do finado programa de apostas “Banzai” (que, aliás, era uma falsificação japonesa), embora sem incursões na escatologia (como aquela vez em que o show perguntava, “qual desses sujeitos é um farsante e está apenas fingindo ser um veterinário com o braço enfiado no cu da vaca, já que na verdade é maneta?”). Pra se ter a idéia da coisa, uma das cenas é quando o dublê boneco de Kitano (não pergunte) está sendo espancado violentamente; seu cabelo falso cai aos poucos; depois é a vez de seu uniforme japonga, revelando uma camisa branca com detalhes em vermelho e azul; os agressores olham aterrorizados; a câmera recua e revela-se que o boneco virou um boneco de Zinedine Zidane, com a 10 da França, que cabeceia e nocauteia todo mundo.

Isso, é claro, é só o começo; não vamos entrar em detalhes sobre o anúncio perseguindo o trem ou o robô com o soco-foguete que enfrentou Saddam Hussein. Não dá pra contar as paródias das delicadas composições das fitas sensíveis que inundam o Estação não só durante o festival, nem da sátira ao próprio último drama pesadão (em que Kitano só atua), “Consumido pelo ódio”. “Glória ao cineasta” é o tipo do filme que as piadas só funcionam (e muitas não) vistas, e não contadas. Na metade final, tudo é tão absurdamente overmente exageradamente demais que cansa e se perde um pouco. Mas, em casa, um dia, com os amigos, a fim de curtir, vai ser um barato.

O filme está hoje no Espaço de Cinema 3, às 15:15h e às 23:45h.

Séries

  • Aventuras de um Zé Pereira
  • Urubucamelô
  • Maracatron

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