Wednesday, December 07, 2016

Júlio Bressane &/or the most imaginative Brazilian film maker after Glauber Rocha






Agonia (1978);
Sermões (1989);
A Erva do Rato (2008);
Matou a Família e Foi ao Cinema (1969);
Cara a Cara (1967);
Filme de Amor (2003);

"... the people who are very talented, but whose talents are hard to define and almost impossible to market. That was the 'staff' of Andy Warhol Enterprises... I didn't expect the movies we were doing to be commercial. It was enough that the art had gone into the stream of commerce, out into the real world."
Andy Warhol

It is unbelievable that Bressane's movies are shown at RAI Italia but not at #tvplimplim. Rede Globo is indeed the avantgarde of ergonomic conservatism in Latin America (although one should recognize they are able to produce first-rate journalism).

Glauber Rocha's and Júlio Bressane's films are very unequal. They were not realized under ideal conditions and have the most ridiculous technical flaws. They are on the other hand boldly experimental, politically challenging and have an almost "hysterical"/"histrionic" flavour, which is very peculiar and common to other Brazilian directors such as Arnaldo Jabor.
There was a real "vision" behind some of their works (see, for instance, Bressane's ideas concerning his movie São Jerônimo in Cinemancia, Rio de Janeiro: Imago, 2000). ***It is however possible to doubt whether the results as a whole live up to the expectations. A lesson to be learned from these directors is—paradoxally—that cinema has indeed basic principles and specific codes one cannot handle so freely. You might play the piano even with boxing gloves, but the sound produced is going to be affected (sometimes brutally). And perhaps some of the problems were caused by a lack of self-criticism and discipline.
The proof is that one of Bressane's most convincing films is A Erva do Rato (2008), which is also the most "restrained" technically speaking. One of the secrets of this film is, for instance, a narrow amplitude of sound which allowed the focus and exploration of a rich range of details (the soundtrack was composed by Guilherme Vaz; Cristiano Maciel and Virginia Flores were responsible for the sound and sound edition).
Considering however the other movies (and the most bold ones), the kind of "ideogramatic" juxtaposition and temporal "modulation" Ismail Xavier attributes to Bressane's cinema seems more programmatic than real.

See also:- Sonatine (Takeshi Kitano, 1993);

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