Synopsis
If you come, come in peace
Bacurau, a small town in the Brazilian sertão, mourns the loss of its matriarch, Carmelita, who lived to be 94. Days later, its inhabitants notice that their community has vanished from most maps.
Bacurau, a small town in the Brazilian sertão, mourns the loss of its matriarch, Carmelita, who lived to be 94. Days later, its inhabitants notice that their community has vanished from most maps.
Bárbara Colen Thomás Aquino Silvero Pereira Sônia Braga Udo Kier Thardelly Lima Rubens Santos Wilson Rabelo Carlos Francisco Luciana Souza Karine Teles Antonio Saboia Lia de Itamaracá Buda Lira Clébia Sousa Danny Barbosa Edilson Silva Eduarda Samara Fabíola Líper Ingrid Trigueiro Jamila Facury Jr. Black Márcio Fecher Rodger Rogério Suzy Lopes Uirá dos Reis Val Junior Valmir do Côco Zoraide Coleto Show All…
Emilie Lesclaux Carlos Diegues Kevin Chneiweiss Tiago Melo Saïd Ben Saïd Michel Merkt Kateryna Merkt Olivier Père
Bacurau: Tierra de Nadie, Nighthawk, 바쿠라우, バクラウ 地図から消された村:2019, Bakurau, Бакурау, 巴克劳, באקוראו, Thị Trấn Bí Ẩn, 殺戮荒村, バクラウ 地図から消された村, باكوراو
How to put Tarantino na sola da bota in a pernambucano's way!
This review may contain spoilers. I can handle the truth.
BRAZILIAN CINEMA PORRAAAAAAA
edit depois de ver pela segunda vez:
- Glauber Rocha sorriria depois de ver Bacurau
- talvez a antropofagia que mais se aproxime do literal desde que foi proposta por Oswald
- novamente Kleber Mendonça Filho escolhe a trilha sonora a dedo: Gal Costa começa o filme anunciando o tropicalismo; John Carpenter surge quando o terror vira o tema do filme e deixa claras as influências dos diretores; Geraldo Vandre dá o tom da resistência na última parte da película.
- museus e escolas são lugares de proteção e resistência para as pessoas, para o povo.
- a tradição, o popular, expressos por Carmelita, pelo violeiro, pela capoeira, pelo psicotrópico devem ser mantidos vivos e são armas…
This review may contain spoilers. I can handle the truth.
The museum reveal in this (and subsequent bloodletting) is an easy contender for sequence of the year imo. When you choose a poor, marginalized community as the target of your gleeful genocidal violence because of their precarious conditions without realizing that those conditions are exactly why a resilient and necessary culture/history of armed resistance might exist. 😩 A John Carpenter spaghetti western is something I didn't realize I've always wanted. Big fan of the naked dude in the hut that was just vibing with his plants and then turned the American’s face into a smashed kinder egg.
"Vocês vieram conhecer o museu de Bacurau?", pergunta a dona do bar ao casal de forasteiros que respondem que não. "Este museu é muito bom", ela devolve. E é mesmo. Bom e esclarecedor. Aquela pequena casa, recheada de objetos, recortes e fotos, guarda não apenas o segredo da trama de "Bacurau", o filme, mas um aspecto essencial ao espírito do povo que vive na comunidade que o batiza (fictícia, mas muito próxima do real). Aqui, por mais que a embalagem seja o cinema de gênero, a base é bastante autêntica: a identidade do nordestino, o nordestino do interior, das pequenas cidades e povoados. E tudo no filme é de verdade: as estradas, o verde, as pessoas, as crianças, o sotaque,…
In some respects, Kleber Mendonça Filho’s “Bacurau” can be seen as a logical continuation of the Brazilian critic-turned-auteur’s two previous features. Much like 2012’s revelatory “Neighboring Sounds,” for example, “Bacurau” is a patient and sprawling portrait of a Brazilian community as it struggles to defend itself against the dark specter of modernity. And much like 2016’s unshakeable “Aquarius,” “Bacurau” hinges on an immovably stubborn woman who refuses to relinquish her place in the world — who won’t allow our blind lust for the future to bury her meaningful ties to the past.
In some respects, however, “Bacurau” marks something of a departure for its director (who shares his credit here with Juliano Dornelles). Whereas “Neighboring Sounds” relies on acoustics to…
Truly one of the craziest emotional rollercoasters I’ve been on. I’ve already said too much, going in blind was the best idea. Udo Kier and Silvero Pereira have the best eyes.
A completely bonkers movie that begins as a Brazilian social drama, observing the townspeople's cultural rituals and impoverished conditions at the hand of a corrupt mayor with an almost western-inflected sense of community. Beautiful desert and mountain vistas interrupted by small character interactions and location detail that carry a sense of local history as well as their procedures for everyday resistance. But then a shift occurs. There are a few off-kilter tonal and formal details that signal it; a split diopter here, a wild zoom there, but the shift is sudden nonetheless (if you don't want to know more I would suggest not reading further), and by the end, this has somehow transitioned into a full-blown spaghetti western splatter comedy…
NZIFF FILM #8
ME WALKING OUT OF THE THEATRE AFTER ‘BACURAU’: hm. well that was certainly overhyped. kind of feels fairly across the plate? maybe i’m missing something. it was fine
ME AS I’M TRYING TO EXPLAIN THE STORY OF ‘BACARAU’ OUT LOUD: [slowly giggling more and more] lmao fuck that movie actually went so hard
additional note: Thomas Aquino is the Brazilian Will Smith and I need this to be acknowledged by the future of his career.
the less you know the better. i feel like i've already said too much even by saying nothing at all
— quem nasce em bacurau é o que?
— é gente.
O Brasil matou o Brazil. E foi lindo!
tarantino wants what kleber mendonça filho has