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I reviewed two movies by Lily Ferreira for a participation - much shorter than I thought – in a program of SESC TV (airing in July or August). Perfumed Ball, co-directed by Paulo Caldas, still not convincing me. There is an understandable insecurity in the whole thing, as if they were afraid to be bold indeed. So they filled the first half of explanatory dialogue that clearly go against the proposed aesthetics of film. The exaggeration assumed in framing options and the stage settings does not always work. The counter-Plong to Orson Welles are almost disastrous, and the film breathes fresh new rookie in long which makes it well in many instances, in others suffer from too many ideas vie with one another.Ends up being a boring film as a newly graduated from college.

Arid Movie, first "solo" Lily, is much happier in both the risks and the desire to tell a story, however there is a greater willingness to leave nothing to the viewer chewed. This option seemed even happier now in the review, especially since the character of William Weber experienced a drug given by José Dumont (sublime, as almost always), and the whole thing takes the logic of a long delirium. A detail is noticeable in the magical moment when the three potheads are in the car, Selton talks incessantly, and Mariana Lima despairs at the insistent ringing him on his arm. This scene seemed very real - "hidden camera" - and I have an important role in this sensory experience desired by the director.

The two parallel assemblies that scream in the film reach different results. The sex scenes are poor, very formulaic, and works as a glass of cold water in the face after a nice sequence of potheads in the cafeteria of the rubber. But first, the preparation of Weber to step in as the weatherman and dance to the music of Renato and his Blue Caps, is very happy.

In 2007 this would yield the best long Pernambuco, alongside Cinemas Aspirins and Vultures: the bressaniano Top Hat, co-directed by Lirio Ferreira and Hilton Lacerda (screenwriter of Prom and arid, and member of the Retro Van - also formed by Lily , Caldas, Claudio Assis and others, in the late 80).
 

I just saw “Killshot”, by John Madden, it's a movie where the director of artisan skills (demonstrated in some parts of Shakespeare in Love and Mrs. Brown) does not hold the tips. While Rourke is on the scene, the film is one with Madden hitting point quite correct, accurate up. Without Rourke, even scenes that rely on Diane Lane and Thomas Jane - two good actors - are pointless. I'm writing about it for Contracampo.

- Disappointment that the Searchers went out the collection sheet. Launched in fullscreen, when it exists in the market this beautiful double issue with VistaVision in its splendor. For a movie like this, a director like John Ford, needed a much larger whim. Ball out of a collection that was going well.

- Who lost innocence, I recommended in the last post, lost one of those rare films where the original format is respected on pay TV. Passed in scope. This Saturday is Cleopatra, Julius Bressane. If scope is not maintained, it is the case for protests. I hope that Channel Brazil has the decency to respect what he thought and Walter Carvalho Bressane performed brilliantly - is one of the highlights of his filmography as a photographer, nothing to do with their unsettling forays through the direction.

- Corinthians still carried this "let's do what we can without much effort." Against Vasco was a shame not to have gotten three goals in the least. And the team, anyway, it's all blown up. Go figure ... A defeat in the Copa Brazil would not be so unfair as well. And Palmeiras're leaving Luxembourg increasingly limited. And there are people who still considers one of the great coaches of Brazil. I have a pdf to with some data to make a few graphs and I need a pdf to excel converter for it.

- I bought two books of John Bénard da Costa in a used bookstore in Sao Paulo.Irresistible prices. Ten days later he was gone. Every day something put it here, as the excellent critical linker Casino, Martin Scorsese. It was one of the greats.

- The New Wilco is the best of them since Yankee Hotel Foxtrot (2002). Probably since Summerteeth (1999). Or walk through destabilized.

- Speaking of hard, nothing beats ... rather, nothing equals the phenomenal Leonard Cohen Live in London. It has also on DVD. Needless to say, the two formats are a must. Music Launch of the year.

Once I created a character named Styx, a demon in whose veins ran ice silver mercury instead of blood. Indeed, it is very natural that writers are possessed by ice demons -after all, the female animus is our connection to the Collective Unconscious (read inspiration), but not write or writing shit and I'm doing all these rodeos because of a things that intrigued me the new book by Bartolotto, DJ - Songs to play in hell, (St. Paul, Barcarolle, 2010) were the "cold eyes" of Cardan, his alter ego, but it turns out muses (or animals) - the corresponding entities that guide male artists to hell (or heaven) definitely do not have icy eyes. Unless there is another story - psychoanalytically speaking - something that I will not explain - after all is just a theory - because they do not have time to bag up space and conviction of, so that's not the case.

The thing is more complicated and more simple: Mario is the one element that paradigmatic Joe Ruben (you see, the FIRST Joe Ruben, Lucia McCartney and Happy New Year) has already set in 1975 - there are 44 light years ago, so - so " People like us or turn saint or crazy or revolutionary or bandit. As there was no truth in ecstasy or in power, was between writer and villain. "(Fonseca, Happy New Year, Sampa, Cia das Letras, 1975).

Better yet, marginal. What characterizes it is its solitary position - "I do not really like people. I like women in some specific subjects, but very few like me, so I do accompanied by cans and bottles of beer. "(One More Lenny Bill, pg 75) - his nihilism essential, since it does not fit into any group, whether artistic, political or social. Even the beatniks, counterculture icons of the twentieth century in America, had his literary project, a sense and a desire for change, yet in the literature of the Third World urban postindustrial, postmodern, post-political and post-ancient, writer then turns marginal - not as an outcast or excluded - but in the situation of fellow anti-social, cynical self and increasingly far from similar.

No heroes or role models, no utopias, without ideals, but without hope, the writer leaves the spirit of "wanting to change the world" to embrace more and more a kind of shrill and insensitive movement (Looking for sex and action , pg.93) self-rotation that leads nowhere, nor exhausted.

The company of MB is to give voice to those who "do not tell the history." Something also covered by Joe Ruben, who does not remember the macabre feast promoted Happy New Year, also written "view" of marginal? Although the tales are not exactly Mario tales, but exercises capture fragments of reality more real, creeping, ordinary, cruel, inhuman, is in São Paulo, Rio or Blumenau.

Absolutely forbidden to read hearts, minds and stomachs assholes, though deeply instructive, even mandatory, just to stop being an asshole. But if you really want to know what's out there in this case, Bortolotto and his alter-ego Cardan (this was not brand carburettor, Mario?) Teachers and guides are perfect as the devil.

Time: At the beginning of this column even thought about putting in parallel with me and MB Mirisola, but as good middle-class ex-Rich Boy and we were well fed and pampered, really have to admit that we are no match for the devil that Cardan.