Recenzje (1)
This is something for the current "young professional" film critics who analyze (often only presumedly) intellectually and therefore adore tons of conventional, trashy, Hollywood waste, and in the flood of nerd nostalgia, they continue to reproduce conformist forms of thinking and art and by their "authority" sanctify the survival of the commercial automaton for money, which can be called "B movies renamed blockbusters." On the contrary, Rogério Sganzerla, as always, uses B-material, to which, however, he feels no less affection and fondness, as he is not influenced by the Brazilian military dictatorship paid for with American money or by Hollywood itself - and he does not create only a pseudo-intellectual copy of his inspiration, but from the beginning he stays outside its boundaries in terms of narrative structure and completely denies its commercial character by canceling the temptations of the plot and other clichés and letting the trash speak for itself. The film is actually a series of Shakespearean scenes when a character takes the stage for themselves and lets their inner self speak, which is a caricature of a mad scientist, a perverse hitman, a devilish femme fatale, etc., and thus truly allows the trash to shine in the spotlight without needing to intellectualize it with any other platitudes. It can be expected that such a film immediately becomes indigestible for the average viewer or critic. It's like the well-known difference in destinies between Truffaut and Godard - both loved old Hollywood films, but one did not surpass his original inspiration, the other did... Or the sad case of Tarantino reminds us that film criticism cannot free itself from vulgarity just by using foreign words and concepts in reviews when, as a former video rental store clerk, he remains a slave to the commercial genre. Sganzerla here chains together paradoxical Renaissance noble portraits focused on individual characters, but depicting deviant characters from the fringes of society and art, thus creating a liberating playful contrast to any attempt to perceive film only as art and art only as life... (He has in mind late Malevich, who, for example, in his self-portrait from 1933, draws himself in Venetian clothing, in a clear allusion to Renaissance art: Malevich, who once believed in the abolition of art and the new human, returns to a traditional, understandable concept in the time of Sorel and neoclassicism, without ceasing to create non-commercial art - and without attracting the interest of a wider audience...)
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