A haunting lead performance from Marco Pigossi, steeped in melancholy and raw pain but also in moments of openness, optimism and even joy, helps make High Tide an affecting portrait of untethered gay men seeking meaningful connections. Writer-director Marco Calvani’s sensitively observed first feature draws parallels between the isolation of an undocumented Brazilian, nearing the end of his visa and disinclined to return home, and that of a Black American, secure in his tight friendship circle but very much aware he’s the minority in a predominantly white queer tourist mecca — and in the country at large.
About that setting — for anyone who loves Provincetown, this film and its enveloping sense of place will evoke fond associations with the historic fishing village and art colony on the tip of Cape Cod.
The physical beauty of the landscape and the caressing softness of the light help both to define and...
About that setting — for anyone who loves Provincetown, this film and its enveloping sense of place will evoke fond associations with the historic fishing village and art colony on the tip of Cape Cod.
The physical beauty of the landscape and the caressing softness of the light help both to define and...
- 3/9/2024
- by David Rooney
- The Hollywood Reporter - Movie News
Taking a cue from the genre-melding impulse of the music at its heart, They Shot the Piano Player initially gives every appearance of being pure fiction. The plot of this animated film by Spanish directors Javier Mariscal and Fernando Trueba follows Jeff Harris (voiced by Jeff Goldblum), a journalist from New York City who’s been commissioned to write a book on bossa nova. Immersing himself in the music in preparation for a trip to Rio de Janeiro, he hears a solo by Brazilian jazz pianist Francisco Tenorio Jr. and gets sidetracked. The innovator of samba jazz, it turns out, disappeared under suspicious circumstances in Buenos Aires just before the 1976 military coup, and Jeff decides to fill in the blanks.
The setup, then, has all the trappings of a detective story, with an amateur sleuth in obsessive pursuit of an unsolved mystery. In Rio, Jeff’s friend João (Tony Ramos...
The setup, then, has all the trappings of a detective story, with an amateur sleuth in obsessive pursuit of an unsolved mystery. In Rio, Jeff’s friend João (Tony Ramos...
- 11/20/2023
- by William Repass
- Slant Magazine
The Aesthetics of Garbage, Part 1 can be found here.
Above: O insigne ficante (The Inisg Nificant, 1980).
“Make films to occupy run down, low class theatres and be subsequently forgotten” —Rogério Sganzerla
One of the quintessential traits of Cinema Novo was the firm rejection of anything Hollywood; films like The Red Light Bandit and O pornógrafo (The Ponographer, 1970) by João Callegaro on the contrary, eagerly cannibalized popular American culture. Cultural appropriation is manifest throughout Callegaro's film, which openly references noir flicks whose aesthetic codes and conventions are borrowed and subverted by the director. While retaining an unmistakable Brazilian flavour these films openly boast their spoofy hybridism, combining high and low culture at a time when the term post-modernism had yet to be coined. True inheritors of Oswald De Andrade’s Anthropophagic Manifesto, these were metropolitan indians suffocated by the orthodox traditionalism of the left on one side and by an increasingly oppressive regime on the other.
Above: O insigne ficante (The Inisg Nificant, 1980).
“Make films to occupy run down, low class theatres and be subsequently forgotten” —Rogério Sganzerla
One of the quintessential traits of Cinema Novo was the firm rejection of anything Hollywood; films like The Red Light Bandit and O pornógrafo (The Ponographer, 1970) by João Callegaro on the contrary, eagerly cannibalized popular American culture. Cultural appropriation is manifest throughout Callegaro's film, which openly references noir flicks whose aesthetic codes and conventions are borrowed and subverted by the director. While retaining an unmistakable Brazilian flavour these films openly boast their spoofy hybridism, combining high and low culture at a time when the term post-modernism had yet to be coined. True inheritors of Oswald De Andrade’s Anthropophagic Manifesto, these were metropolitan indians suffocated by the orthodox traditionalism of the left on one side and by an increasingly oppressive regime on the other.
- 2/28/2012
- MUBI
We have a report or two from the International Film Festival Rotterdam on the way, so this'll be something of a supplementary roundup, collecting reviews, impressions and so on from the festival that runs through Sunday. The first main event would have to be the world premiere of the film Takashi Miike is now calling Ace Attorney. The Iffr has posted a video record of Gawie Keyser's "Big Talk" with Miike that took place on Saturday. The introduction's in Dutch, and it's followed by a trailer with English subtitles (much longer, too, than the first trailer) and the conversation itself is a mingling of questions in English and answers in Japanese with Dutch subtitles. Miike obsessives, though, will be able to sort out what's being said.
"The Iffr and Miike have been friendly towards each other ever since Audition had a few legendary screenings over here back in 2000, and it...
"The Iffr and Miike have been friendly towards each other ever since Audition had a few legendary screenings over here back in 2000, and it...
- 2/1/2012
- MUBI
IMDb.com, Inc. takes no responsibility for the content or accuracy of the above news articles, Tweets, or blog posts. This content is published for the entertainment of our users only. The news articles, Tweets, and blog posts do not represent IMDb's opinions nor can we guarantee that the reporting therein is completely factual. Please visit the source responsible for the item in question to report any concerns you may have regarding content or accuracy.