The Swiss filmmaker, of Portuguese origin, Basil da Cunha, signs a sumptuous polar with the inhabitants of a ghetto.
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Basil da Cunha: the name of the Swiss filmmaker, of Portuguese origin, had appeared as a comet in the sky of the Croisette, in 2013, with a first feature film at the fifteen directors, immersed in starry darkness of a Lisbon ghetto, albeled with Luz (after the night). Born in 1985, the director found the texture of his films in the Reboleira district, like Pedro Costa before in Fontainhas (in the House of Vanda, in 2000, in the Youth, in 2006 …).
If the scriptures are not the same, the two filmmakers share the same taste for the time spent with the characters, the attention to speech as the cement of the community, and the aesthetic research conferring all its splendor to the characters to The margin – of society and cinema.
a reboleira, Basil da Cunha found her “sponsors”, weaving the material of her dark and nihilist polars, more than explosive. His second feature film, O FIM DO MUNDO, opens on a baptism in a church, and we hapel us with his close plans on the faces and his device cutting the sound of conversations, installing the dramaturgy and giving all the space to Liturgical music. The party, and its desiring bodies, operates as a parenthesis between the accounts of accounts, in a territory undermined by jealousy and the clan conflicts, already threatened by the sound of the excavators.
Arc tense of coldness
The hero, Spira (Michel Spencer), twenty tailing, finds the neighborhood after eight years spent in a correction. His best friends, Giovanni (Marco Joel Fernandes) and Chandi (Alexander da Costa Fonseca), have learned to survive trafficking: Spira does not want to “go back” and the film deploys a cold tense bow, now at a good distance the young man And the bandits of the community – the sponsor of the neighborhood, Kikas (Carlos Fonseca), makes him understand that he is not welcome. In a corner of his head, Spira also dreams of happiness and love with a daughter of his age who is already mother, Iara (Iara Cardoso).
From history, we do not need to know more. It is necessary to be caught in this microrecit which does not check the boxes of the Gangster movie and does not have a firearm. The hen of the village is of interest to the filmmaker as well as the hair dryer that allows to harden the drug bar, for more effect on customers.
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