In Portugal, over 600 shipyard workers are being laid off. An apiarist fights off an invasion of foreign bees. An African wizard creates an aerosol spray that cures impotence in world leaders and IMF financiers. A judge puts a cockerel on trial for crowing too early.
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Arabian Nights: Volume 1, the Restless OneDirected byMiguel Gomes
Arabian Nights is unquestionably one of the major cinematic events of our time. The first volume might not be the most cohesive of the bunch (and in no way is cohesion what Gomes is aiming for w/ this project), but the "Cockerel" section and the "Swim of the Magnificents" section are I think the best sections altogether is the three movies. The interviews w/ the Magnificents, in fact, absolutely destroyed me.
Inventive and genuine fictions aren’t enough anymore for Gomez, who inserts a “mandatory”political allegory to comment the late economy depression, and, de facto, stretching the definition of obnoxiousness. A demagogic lesson in failure.
(as 1 single work) it's great, though gomes is too much interested in effects than he is in causes for my taste. not that the former isn't important. but seen as one work it's extraordinary, a total intoxicating experience that maybe has little to say, but its far too inventive to matter
TIFF' 15 'The Arabian Nights' provides the framework for Gomes' event trilogy that finds the storyteller Scheherazade telling fanciful tales inspired by hardships experienced from the Portuguese people during the recent austerity measures. Volume 1 is likely the most accessible entry providing some humor but with an underlying anger not very hid beneath them. Exceptionally shot by Sayombba Mukdeeprom.
Em modo 'Aquele Querido Mês de Agosto" e ainda bem. Originalíssimo. Como já só o Patrick Mendes e o Gabriel Abrantes sabem ser (d'entre os jovens). Da baleia do Tarr ao Ruíz, do Disney ao Buñuel e à Raquel Freire, muito me passou p'la cabeça ao ver isto. A tusa da Troika-Governo é das coisas + brilhantes que vi EVER/"vais t fdr"≠"vais penar"(LOL).Quero ver, daqui a uma semana se o segundo tomo será Pasolini ou Costa♡
There would be little to expect from a film that is intended to be smarter than it actually is, especially when it mainly concerns its director's persona: besides the poor fictions and farces and documentary notes with a banal sound editing, it's Gomes reiterated practice of a schematic meta-language that sacrifices everything for the sake of the figure and status of his author. Weak figure, i should say.
Miguel Gomes both radicalizes and refines what he had done in Our Beloved Month of August, by making the crew and himself show up before the camera and using people he meets as actors in narratives that pop up. This time he states the premise of the film beforehand, in a way that questions its worth and relevance. And then, as in Canticle of All Creatures, he is able to change style and language keeping coherence.*