we were stuck in the jam for like 2 hours yesterday on the ecp? And… there’s no news of it online?!?! hmm….
I dun wanna sleep so that the next day won’t come.
and when I do get to sleep, I dun wanna wake up.
How much longer can I take this?
The chinese believe that 守得雲開見月明. Can I last till then?
- slightly confusing show, especially with actors and actresses we are not familiar with and the subtitles
- I think I might be able to make an art film too. It seems that many of these films have shaky camera work, out of focus shots and some storyline that I can’t seem to figure out. Pretty much describes my attempts at video so far anyway
- I am slow. Yes. I admit it. When the family ate the pet anteater, I found myself wondering why the rest were gasping. Then I realised why
- I don’t like the ending. Really abrupt. Was wondering why the german guy was leaving when I noticed the credits at the bottom of the screen. I was like… huh??? what just happened?
- It was extremely weird to see the radio I have in my living room on the big screen (the girl was listening to music on that radio)
- I am really really innocent. I actually thought that someone was being killed till just before the scene ended… hmm…
- I like the song the gal was listening to. Anyone knows what the song is?
Opening is set in Brazil’s rough Northeast territory, a fascinating location in itself. Jessica (Nash Laila), a swollen-lipped 16-year-old with a blank expression, lives in the outbacks with her mother (Magdale Alves) and the latter’s lover, Biu (Servilio Holanda).
Unlit interiors drained of color convey the gloom of their meager existence. So do several well-chosen details, such as silent family meals of goat meat, and later of a pet armadillo who suddenly becomes lunch. The armadillo incident connects to a local backroom trade in protected animals, notably huge snakes, which adds some color but has no chance to develop into a serious expose of animal smuggling.
Jessica is abused by Biu in a painful, slam-bang rape scene shot in extreme closeups. She then morphs into an after-school hooker and soon drifts away to beach town Recife.
Caldas is most on-target in the film’s midsection, during which he offers a realistic peek at Jessica’s grungy life as a teenage prostitute. Sharing a tiny room with three other girls, she dreams of a better life with a man who loves her. In one affecting scene, she has a heart-to-heart with her suicidal roommate Pamela (the fine Hermila Guedes, who played a similar role in “Suely in the Sky”) about growing older and losing customers to fresher girls.
The turning point comes when Jessica meets a good-looking young German (Peter Ketnath, the long-haired star of “Cinema, Aspirin and Vultures”) who’s into drugs and seems like the answer to her dreams. This is pure conjecture, however, since throughout the film Laila maintains the same impenetrable look, making it hard to empathize with her or imagine her feelings.
Thanks to an unlikely plot development, the last 20 minutes shift to Berlin, where d.p. Paulo Jacinto dos Reis’ wobbly, handheld camera style gives way to sober, orderly lensing. This third location broadens the film’s scope to yet another metaphorical desert of the soul.
Jessica’s comment that “the German sun is as cold as a refrigerator light” got an appreciative laugh at the film’s Berlinale Panorama screening.
A rocking score by Fabio Trummer and Erastos Vasconcelos gives the simply framed shots a bit of rhythm.
With: Magdale Alves, Servilio Holanda, Joao Miguel, Aramis Trindade, David Rosesnbauer, Marilia Mendes.
dun ask… if u know, u know… if you don’t, you’re not supposed to ;p
to live on a desert island with only my books, pens and paper. throw in a courier service for new books, laundry service, gourmet catering and I’d be one satisfied woman…