Shirley has left the big city to live in a small seaside town and look after her grandmother. There, she drives a tractor on a local coconut plantation, loves rock music, dreams of being a tattoo artist and feels trapped in the tiny coastal village…
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Mascaro shows off his tricks on the borderline of reality and I buy it. I'm really curious about enlacing fiction and non fiction on this level: poetry, documentary and drama without a climax or a particular plot. It's a meditation on imagery deep into rural brazilian blank spaces, searching for images within life's flow. Beautiful and particularly cultural, it's etno-cinema backpacking through Brazil.
On the cusp of perfection. The only thing missing is ... something ... je ne sais quoi. Like a really zoned-in, streamlined Lav Diaz opus. In super-miniature. In Brazil. I love non-actors. I love the most marginal of margins. I love the right kind of ethnography done the right kind of way. I really want to sing loud, glorious songs about the majesty of this thing. But I also want something that isn't there. What?
FNC '14 Set in a remote corner of Brazil, Mascaro's debut feature captures through beautiful lush images his home in both tranquility and storm (physical and metaphorically). Winner of a jury mention at Locarno this film makes Mascaro one to watch. The undertone of cultural and climate change cast a dark shadow.
Gorgeous imagery. Nebulous story.
Harvesting coconuts. Harvesting octopus. Harvesting sounds of wind. Harvesting corpses and skeletons.
Making love. Caring for the dead. Shielding beach-side monuments from a storm tide.
A skull and then a corpse affect an isolated island community. Smart depictions of youth's aspirations, frustrations and vanity in such a remote place. Great cinematography with some stunning shots. Mascaro does wonders filming bodies, pop culture, the contradictions of urban and wild elements in a remote village. In my opinion a more accomplished movie than Neon Bull.