Cliche-heavy, trope-riddled, a little too earnest... all (maybe too) easily forgiven because, well hell, I adore all Rodrigues' references as much as he does! A guileless homage, disarmingly personal, and formally something like wondrous; a film with neither acting nor dialogue - only images, narration, ambient sound... The stills & static shots between 'scenes' are poetry in the language of cinema. 3.75
Décevant. And why ? J'avais en tête le Macao de Volodine, qui compte des tueurs là aussi, mais portés par une saudade d'une autre trempe. Impression de tomber sur un Macao pour touriste, où le fil ténu d'une fausse intrigue en voix-off ne sert qu'à relier des images incongrues ou désolées, mais qui ne font ni sens ni émotion. Ni fiction, ni documentaire. Bel exemple de ce qui serait à éviter.
A intro da coreografia de Candy com os tigres está algo de soberbo. Neste thriller nostálgico semi-documental é revisitada uma região que tanto ou nada mudou ao longo de 30 anos, mostrando os recantos menos tourist-friendly mais ainda assim fascinantes, provando que esta não será a última vez que vi Macau.
Atractivo cine noir. El filme se despliega cual clásico estadounidense, pero en un idioma a lo Marker (tal vez por eso su fallida calificación de documental). Dado ambos referentes, no es de extrañar que la película sea narrada en primera persona. Pero hay más. Lo atractivo tiene que ver con ese lugar ficticio pero que se abraza a lo real. Tiene mucho de místico como ese tesoro enjaulado (Kiss Me Deadly).
Reality and fiction are intertwined in this return to Macao. Guerra da Mata (the protagonist) shares many things with Guerra da Mata (the director) and it's quite nice to follow him revisiting these places that feel so familiar and yet, at the same time, so different after 30 years. It doesn't work as an idilic postcard for Macao, but it definitely made me wanna go there.
An offbeat detective story told entirely non-diagetically, permeating some curious boundary between radio play, travelogue and noir. Some of the best moments happen when the narration evaporates entirely, leaving only the mystery of what might—or might not—be occurring out of frame, in the mystical nowheres of Macao's sleepy streets. A true delight.
FNC '12 One of the year's finest films. An unique experience that one has to surrender to as it meanders its way along. Part traveloque, part history lesson and part mystery a la Harry Lime. Top notch opening using Jane Russell's song from 'Macao" is just the jumping off point for this fascinating pic. Filmmakers reportedly created this film in the editing studio from reams of footage shot and approriated. Wow
A thriller narrated in the first person in which we never see the protagonist, or for that matter any of the action described onscreen. Fascinating from a formal standpoint, attaining a strangely meditative quality and leaving the audience as disoriented as its protagonist. Unfortunately it's also a bit frustrating, even with its short running time. Still, it's an audacious experiment, even if it doesn't always work.
The Last Time I Saw Macao's tropical smoke-hued noir weaves cinematic nostalgia and childhood memory in a fragmented labyrinthine search for a friend in danger and fleeting glimpses of the past. Filmmakers Guerra da Mata and Pedro Rodrigues aspires for an evocative and compelling work, but the final reel coveys how the editing room eludes their narrative, and imparts the impression that all is lost in the wilderness.