quinta-feira, 5 de fevereiro de 2015

Se o objetivo era fazer um filme todo construído em cima de diálogos que só reforçam a inclinação ideológica (demagógica) do projeto, do tipo "Para mim a revista Veja veio sem o plástico" saindo da boca da personagem mais antipática (a que quer foder com o zelador vadio por egoísmo, pois como todos sabemos quem quer despedir a entidade abstrata "zelador pobre" é automaticamente egoísta, canalha, injusto e, portanto, entidade abstrata "leitor da Veja"...) ou "Trabalhe duro" para respaldar o rapaz que, ao contrário da mãe faxineira (e obviamente evangélica), não vai à igreja (puta transgressão numa época de hegemonia religiosa esmagadora como a nossa...), ou em cima de simbolismos esclarecedores (ou seja, perfeitamente inúteis enquanto símbolos) como o vovô latifundiário com barba de Matusalém (afinal a injustiça é eterna...) nadando com os tubarões (i.e. os seus pares) na madrugada, então o Cronenberg foi completamente bem-sucedido com Maps to the Stars.

4 comentários:

Griffe disse...

Mais "O Som ao Redor" est bien meilleur, parce que Kleber Mendonça Filho a compris Altman, c'est-à-dire le cinéma, tandis que Cronenberg ne filme que des dialogues. Non ?

bruno andrade disse...

Hey Griffe,

I think that if Kleber did understand Altman, that would reveal to be Altman's worst possible tendencies, what we would call here in Brazil the "kick a dead dog" inclination (that is, the demagogic Nashville/The Player Altman, which I don't give a dime for, instead of the Long Goodbye/California Split Altman, which interest me a lot more). I would say that he's closer to Tarantino (the Inglourious Basterds/Django Tarantino) than to Altman in that aspect: he's making pseudo-politically fuelled films for the facebook crowd to discuss and make a trend of (that is, superficial fodder only). Everything is not only completely theoretical, schematic and disembodied (I think this is where we'll disagree the most: I don't see any heat in those bodies, only a sort of picturesque bright sweat to seduce the film festival/film magazine crowd) but as fake as a three dollar bill. Really: the worst façade of brazilian society is a Veja reader who complains about the janitor? The greatest menace to the recent changes in brazilian society (which Kleber is absolutely incapable of being even slightly critical of, I might add) is an abstract Methuselah grandpa' landowner right out of a soap opera who "swims with the sharks" at dawn? (I think Hayden's character in The Long Goodbye is an incredibly more dinamic, dialectical and warm-blooded body of contradictions, no?). Anyway, Chabrol would never, EVER stand for or make a piece of shit footnote like that (he knows where he's coming from, for one thing), which is the thing that the Cronenberg film is full of, and that's my problem with both films: they're nothing but footnotes (that's how Mendonça's film is constructed, and I don't buy it for a second).

I think it's a piece of shit film. Slightly better than the average academic brazilian film for international festivals (the whole Roterdam-Locarno-Cannes-Berlin, Cahiers-Cinema Scope-Film Comment combo), but still complete phony baloney.

bruno andrade disse...

Also: Altman was a great risk taker, and many times he didn't depend on the footnotes, even while he was making them (I think that's what you're calling "cinema", this direct, blunt approach of things, the Losey-Rouch side of Altman, and if that's the case I couldn't agree more). Not so with Kleber: everything has to be mediated by what's ideologically convenient at the present (cf. that ending, which I don't even have words for).

Griffe disse...

Thanks, Bruno. I'll take another look on Kleber's film with your words in my head.

And yes, that's what I'm calling "cinema".

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