By Sherilyn Connelly
By Inkoo Kang
By Carolina del Busto
By Alan Scherstuhl
By Melissa Anderson
By Aaron Cutler
By Amy Nicholson
By Alan Scherstuhl
Once again reels from Rio will screen on the sands of Miami Beach to kick off this year's festival, which includes 24 films and visits by a number of actors and directors. The big treat: For the first time ever, the opening film (A Dog's Will, reviewed below) will be projected in high-definition TV -- and for the first time ever both the HDTV equipment and all the films will travel to New York, where the opener shows out in Central Park. The reason we get this lucky (there are supposedly only 39 theaters in the world with HDTV capabilities) is because the company behind the equipment is Brazilian. After the big-screen beach fun, the festival moves indoors to the Colony Theatre from June 3 through 9; each feature flick is preceded by a short. This is also an industry event, so there will be panels and discussions on the how-tos of financing, pitching, and producing, tailored toward independent and foreign films. Of the feature films, a number have a sense of whimsy, and a general theme seems to be time-tripping. A Dog's Will and O Xangô de Baker Street dwell in the land of farce,while a lyrical trip through the time of a famed neighborhood is the basis for Copacabana. Caramuru follows the voyage of a Portuguese painter and his maps, his Indian princess and tropical discoveries, and his claim to a kingdom later to be known as Brazil; Two Times With Helenatakes place in 1940s São Paulo, then jumps to the 1970s (turbulent periods for Brazil), when three lovers meet again; and The Inheritance and Overwhelming Women are thoroughly modern tales of thoroughly modern women in a reinvigorated Brazil. -- Anne Tschida
Of Jack the Cricket
Guel Arraes's magical realist morality tale A Dog's Will (Auto da Compadecida) is an adventurous collage of telenovela and art cinema, slapstick comedy and social chronicle. Created as a television miniseries, it was a huge success in Brazil, both on TV and later in movie theaters. Arraes, a director known for making superior programs for Brazil's Globo Network, shot the miniseries on film instead of video, and after its small-screen showing he edited this version for commercial release.
June 3 to 9 at the Colony Theater, 1040 Lincoln Rd, Miami Beach; $6 general admission; call for more details and times, 305-674-1026 or 877-877-7677.
Dog's Will is adapted from Ariano Suassuna's play by the same name, a work that is perennially performed by theater companies large and small all over Brazil. Suassuna is renowned for his provocative treatment of the popular culture in the country's northeast region -- in this case bashing the clergy and its powerful hold on the Brazilian people, and lampooning landholders and the merchant class. He wrote the script in 1955, which accounts for the characters' shopworn "insights" and stale jokes in the movie version. The film is in large part a shrill farce, and its first half relays the predictable foibles of the residents of a small northeastern town and their sinful prejudices, corrupt practices, and randy behavior.
The director's sweet imagination thankfully overcomes the small-town comedy routines with cartoonlike dream sequences, and as the film progresses, patience pays off with a divinely ridiculous Judgment Day scene that's part Buñuel, part The Weakest Link. Arraes succeeds with silly costumes and even with documentary footage of rural Brazil's poor that makes up a brief segment of the film.
The movie centers on the exploits of two destitute friends, João Grilo (Matheus Nachtergaele) -- Jack the Cricket in English -- and Chicó (Selton Mello), who find work in a bakery. The baker (Diogo Vilela) and his wife (an annoying shrieker played by Denise Fraga) treat their employees worse than a dog -- proved when the dog eats Jack and Chicó's dinner, and she dies. After some conniving on Jack the Cricket's part -- he tells the town priest and visiting bishop that the dog left a will in which they were provided for -- the clergymen agree to give the dog a Catholic burial in Latin. Meanwhile the daughter of the town's richest man falls in love with Chicó, the poor idiot savant of the story, and he must compete for her hand with her other suitors, a corporal and the town bully. Eventually a one-eyed beggar avenges his fate by becoming a bandit, and his gang kills the whole crew of characters, including him. Everyone ends up in purgatory, to be judged by the Devil, Jesus Christ, and the Virgin Mary.
The cast is made up of fine actors, with Nachtergaele and Mello excelling in their roles as respectively tricky and sensitive buffoons. As an extra treat, the marvelous Fernanda Montenegro of Central Station fame plays the Virgin Mary. -- Judy Cantor
A long time ago, in this very same galaxy, blood flowed from young women's throats in dark alleyways. In O Xangô de Baker Street writer/director Miguel Faria, Jr., delivers a prequel of sorts, á la George Lucas, relating to the legend of Jack the Ripper. The film, with its goofy sendup of super-sleuth Sherlock Holmes's misadventures in Amazonia, could appropriately be called João the Ripper.
Set in Rio de Janeiro in the waning days of slavery, Xangô engages viewers with a good old-fashioned whodunit. A rash of killings in which young women's necks are slashed coincides with the theft of a Stradivarius violin, which the famous inspector is brought in to investigate.
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