On paper, this could've looked like an amazing project with a visceral script and a cunning reimagining of what a coming of age film could be. But the reality of the final product is dreadful. Like someone who just bought its first camera and an Ansel Adams textbook then took their friends to the front yard to shoot an amateur film. It's a shame, really, but I'm still curious about Silveira's future projects.
In a world without grown-ups (or with the increasing lack of reason), Kill Me Please introduces a very specific criticism about urban living: we are all lost in translation from childhood to adult life. Silveira builds a weird atmosphere that makes everything about teen-life strange: the religion is absurd, death does not make sense, sex is something to bring relief. Are we really safe at any point of teen years?
Girl power! Glad a woman made this. I can feel slightly less prurient in relishing it. One-hundred-thousand times better than Carrie. You into aberrant sexuality? Because I am totally into aberrant sexuality. The birth of every sexual being is the birth of a potential self-consuming monster. And within every nominally healthy sexual being is the germ of monstrosity. This pleases me. And Kill Me Please pleases me.
This is a film that grows on you. If at first you start watching the film and it looks very strange and typical with the usual shots of a webcam, facebook, skype screen, it then becomes a careful reflection using all the capacity of cinema and all its genres to reflect about a period of people's lives and a society with no adults with askew views of sex, religion and death. Beautifully shot and carefully done.
A fascinating exploration of cinematic genre, the slasher, the giallo, the teen comedy, all exploited and subverted as means of creating a singularly feminine view of the complex and porous lines between desire, sex and death. Few recent films take the insulated and immature perspective of their juvenile characters with such unnerving joyfulness and impetuous hypnotism.
The virgin and non-virgen deaths. Another "event" of the current Brazilian cinema that is not, unless for the film festivals indigence. The extreme willingness of mean and demonstration leads to the annulment of what could potentially be stimulating, particularly an urban existential hypnosis confused with the "angst" of a formatted humanity. But no, the music, the slow motions and the obvious kills it softly.
MATE-ME POR FAVOR is dealing with an intriguing topic, the filmmaker suceeds in capturing the fears, desires and obsessions of adolescents – with originality, energy and freshness. The impressive directorial work with a non-professional cast convinces within every second of the film. Also cinematographically MATE-ME is a voice that needs to be heard.