Reseñas (1)
An experiment with underground content; depravity as its outer form. Commercialized mass genres exploiting violence or romance are turned upside down with all-pervading irony, nonsense, and cinematic nonconformism into a darkly humorous and biting farce of itself - meet Brazilian cinema marginal. Bressane constructs one disparate fragment of a bloody rebellion against norms after another around a non-chronologically narrated plot of lesbian love - the narrative of this film is therefore as surprising to the viewer's expectations as it is purebred (European) "art." However, it is not just about formal finesse, but about youthful (the director was 23) rebellion against both film and societal conventions, albeit without a positive vision (à la cinema novo) - it is about pure joy in a senseless cry of resistance, murder without a chance of escape. The impossibility of successful transgression does not prevent one from diving headfirst into it and in a self-ironic gesture, and like Pierot, nodding in agreement to the absurdity of life and film. "I tried to cry, but no one believed my tears. / I tried to love but love never came. / Such is life. / Such is life."
()