Pitbull attack sparks violence in film “Ursa,” competing for Vitória Trophy – Revista de Cinema

By Maria do Rosario Cateno from Vitoria

The third competitor for the Vitoria Film Festival characteristic film present got here from Parna, hidden below the obscure title, “Ursa”, and a younger director (34 years outdated) and unknown outdoors the borders of the southern state, newcomer William de Oliveira. The film has qualities, a provocative script and an uncommon setting amongst productions as soon as set in the south of the nation. We don’t see arocaria timber, nor the wealthy descendants of European immigrants, however peculiar folks.

The synopsis of “Ursa” (what an unlucky title!) registers, poorly: “A pitbull attack in a peripheral neighborhood and its tragic penalties”. We guess town is Curitiba, as a result of the film is from the outdated one, the folks have white pores and skin, the “periphery” just isn’t a slum, the homes are made from bricks, giant and with garages, the residents have automobiles or bikes. When a hospital enters the scene to care for two youngsters who’ve been attacked by a feminine pitbull named Ursa, we be taught that it’s the hospital unit of SUS Paraná.

Protagonist Vivian (Adriana Soltomayor) works in a cafeteria, and leaves her two youngsters with the caretaker, a 15-12 months-outdated teenager. The dialogue is energetic and filled with spicy jokes, particularly coming from the colleague, the waitress (Patricia Cipriano), who could be very sharp. While tragedy imposes itself, “Ursa” polarizes two tales – that of the mom, who has an injured son, however out of hazard, and the youngest, in essential situation, in the ICU. And their in-laws danger shedding their custody. At the opposite pole is Jonas (Diego Perrin), a self-centered younger man who’s extra involved with the destiny of his canine than the ache of his mom and her younger youngsters.

The film threatens to unravel when the actor enjoying Vivian’s father-in-law enters a public hospital to go to one among his grandsons. Ironic, and poorly carried out, he’s out of character with the narrative. Fortunately, the film takes your breath away. The plot progresses and, as soon as once more, we’re taken by a wierd sensation. No longer simply provoked by a satirical character, however the folks on the base of the social pyramid (outskirts of huge cities) danger being seen as turbines of reports that feed world-canine-kind applications. There is an environment of suspense. The ending, nonetheless, will contradict our most evident expectations. And that can present us a director we should always pay shut consideration to. He is stressed, has written a pointy and, what’s uncommon, artificial script (solely 70 minutes).

Director William de Oliveira on the Vitoria Festival © Maria do Rosario Cateno

Four extra brief movies had been offered on the third evening of the Vitoria Festival competitors – Brasilienes “Andromeda”, by Lucas Gasser, Capixaba “Lua de Sangue”, Mirella Morgante and Gustavo Senna, Gaucho “Madrugada”, Leonardo da Rosa and Gianluca Cozatti, and Sao Paulo “Solmatalua”, by Rodrigo Ribeiro-Andrade.

Of the 4, the documentary that made the most effective impression (truly a hybrid, because it dialogues with fiction) was “Madrugada”, directed by Da Rosa and Cozatti, college students of UFPel, the one public college in Rio Grande do Sul. Maintain a daily film course. Pelotas, town that hosts the college, is positioned close to the Rio Grande, the place the port of the identical title, the film’s setting, is positioned. From there, a considerable amount of grain produced by Rio Grande do Sul Agribusiness is shipped, particularly soybeans. From the plantation, the grain is transported to the port by rail. Most of the soybeans fall on the roads. At daybreak, unemployed folks go to gather such leftovers. They earn their livelihood from them.

The film follows the morning of the employees, three of them in specific, their onerous work, but in addition their video games in that desolate panorama. The photos are highly effective (photographed by Rebecca Frankoff), the environment enveloping. But the viewer will profit drastically if the film is subtitled, as a result of it’s obscure what the three “pickers” from the acute south of Brazil are (say, the pickers, the characters that Agnes Verda liked a lot in “Les Glanuers et la Glenues”).

Espirito Santo develops a particular penchant for horror cinema. Here, filmmaker Rodrigo Arago maintains an energetic manufacturing middle for movies of this style. The curatorship of the pageant, to symbolize the state in the nationwide competitors, selected the horror film “Lua de Sangue”, directed by Mirela Morgante and Gustavo Edna. There had been different choices, reminiscent of “MaKumba” and “Mare”. But it bets on what’s the calling card of home manufacturing.

“Lua de Sangue” is credited to the artwork director (Alexandre Brunoro) of Rodrigo Aragon’s movies. But that is all. Mirela and Gustavo’s film offers not with trash, however with psychological terror. It can be a part of a real story. Before lengthy, the administrators determined to film the ellipse from the perspective established at Pedra dos dos Olhós. Late, they sought data and adopted a small path by way of the forest. They had been misplaced and rescued by the fireplace division. They embellished the story and turned it into Blair Witch-style metalinguistic horror.

“Andromeda” places two feminine characters in the universe (the geek or the nerd) very a lot concerned with the male universe. One of them suffers from love illness. They stay in a big metropolis, criss-crossed by subways that consistently run by way of it. In discussing the film, Petronio Neto, a cinematographer who graduated from UNB, mentioned that he and director Lucas Gasser had been impressed by Asian movies (by Wong Kar-wai and Song Ho-soo) to create the film’s environment. And it added the bodily and architectural landscapes of Plano Piloto (a deliberate metropolis, with buildings of restricted peak) and Aguas Claras (very tall buildings) that set the film.

“Solmatalua” has been described by its director, Rodrigo Ribeiro-Andrade, as “an Afro-diasporic odyssey”. The film, which has Eric Rocha as one among its producers, follows the analysis of the director of “The White Death of the Black Sorcerer”, a film that, in 2020, obtained a number of awards at Brazilian festivals. Over the course of quarter-hour, the filmmaker provides archival photos that create a dive into the ancestry of African peoples unfold throughout completely different areas. And it does so with a soundtrack by Mbé.

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