The product of a wonderful, densely-filled mind, as yet unsure how to best express itself. Hints of the genius to come in Arabian Nights; still too much of the immaturity of Kalkitos... Gomes definitely benefits, here, from having Rivette as a bit of a cinematic frame of reference for his audience. Still, probably more a film for the already-converted than one for anyone else.
Oeuvre hébétée et saugrenue qui se voudrait fantasque et surréaliste dont on cherche vainement la pseudo-poésie, la folie créatrice, l'imagination légère et débridée. On se retrouve finalement à subir, surtout dans la seconde partie, une cacophonique lourdeur, sans aucun charme ni fragilité qu'on hésite encore à cataloguer dans la jobarderie post-estudiantine à connotation nombriliste. www.cinefiches.com
Nota-se bem a maestria e singularidade que só podiam estar presentes num filme de Miguel Gomes, mas por comparação a trabalhos posteriores, fica um tanto atrás. As ilustrações do João Fazenda são deliciosas, e a canção inicial apesar de tenebrosa, fica na cabeça durante algum tempo.
It's a movie about growing up. Not in the city, because in the city you'll became ill, somehow. In the country, we, as grown ups, must behave like kids. Simply because we can do what we want, besides the rules. We can do what we want, behave like we want. Like the old days used to be. And once that fantasy is over, well, it's over.
Uma morality play/coming of age filtrada através de uma adaptação da Branca de Neve e os Sete Anões. Mas febril, demente, cansativo e impenetrável. Sem interesse. Uma hora de homens crescidos a brincarem. Why? Reconheço e adoro no Gomes um talento exímio para a ficcionalização do real e do geracional coletivo, mas para invenções moralistas certamente não tem mérito. Certamente não aqui. De longe, o pior filme dele.
Uhhhh. Jesus. Mad immersion in a cockeyed vision. A lot of promise. The thing is it hits this closed-circuit zone of whimsy pretty early and gets trapped, though admittedly up to business for which I don't have a lot of points of reference. It fakes you out in a way that ultimately fails to pay off. The audience is slightly cheated. Stupid and maybe brilliant. A big leap from this to the revelatory August.
A very human film that was at times coy and often borderline charming, yet it never lost me because it was so impenetrable. I guess it was that there was no exposition to ground the allegory that I found it challenging at times (I can be easily distracted) but ultimately quite moving (the last line!), perhaps because I've just hit my early thirties and it struck a chord. I really enjoyed this one, as I did Tabu
Starts off like a comicbook Happiness (Todd Solonz) only to go all Blue Remembered Hills on you. The little screentime given to the first part, 'Theatre', made me want to see more of that storyline and less of Part Two, 'Measles', which started well but just dragged on and on. Stuck with the film for the fairy-tale man-child feel to it but it all just plateaued out and i'm still not 100% sure what actually happened,