Gabriel Mascaro’s unadorned sophomore feature, “Neon Bull”, brings to the big screen the lives of a few individuals connected to the Vaquejada, the typical rodeo of the Northeast Brazil.
Iremar (Juliano Cazarré) is an experienced bull handler who prepares the opulent white animals before being released in an arena where two men on horseback will persecute and throw them on the ground with a violent tail tug. This is what he does to make a living, but his real dream is to become a fashion designer. In his spare time, he goes to swampy fields where he collects pieces of broken mannequins and other discarded props that he uses to feed his fashion fantasy.
Usually, he has the company of Cacá (Alyne Santana), a sharp-tongued adolescent girl who love horses and whose mother, a dancer named Galega (Maeve Jinkings), is also the
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Many of these verbal tensions come from Cacá’s stubbornness and wry commentaries that leave her mother and the men frequently out of their minds.
Even occasionally infusing a spontaneous humor, “Neon Bull” is a tough watch due to the constant violence that takes both the physical and emotional forms. This factor is counterpointed by explicit images of intense sexual pleasure, when Galega accepts a newly arrived attractive cowboy named Junior (Vinícius de Oliveira, the kid from “Central Station”) as her sexual partner, and when Iremar becomes physically attracted to a pregnant woman, Geise (Samya De Lavor), a perfume seller during the day and a security guard at a knitting factory during the night.
All these dualisms - violence and pleasure, ugly and beautiful, hostile and respectful, reality and dream - make “Neon Bull” such a powerful drama, enhanced by a confident structure and fabulous acting from the cast of professional and non-professional
Bye, Bye Brazil (1980), a film by Carlos Diegues, tells a story about the struggle of two couples trying to find their dreams in a country, Brazil, that is being overcome by social changes and undergoing massive technological transformations. United by their dreams, the couples travel through the backlands of Brazil in a truck, to seek places where they can not only make a living, but also find their dreams. The insights gained in the course of the journey are insights of both acceptance and change.
Have you ever felt unsure about a topic? That is how I felt at first when I read “The Blind Faith of the One-Eyed Matador” by Karen Russell. I felt that bullfighting was simply cruel, but then I understood the culture behind it. The more I continued reading I understood the love and passion that Juan Padilla had for the sport. It seems crazy that what you love to do could almost cost you your life, and no matter the consequences you’re not willing to give it up. Although many people may agree bullfighting is a cruel sport, being a bullfighter is a part of culture, passed on through generations, and there is a passion behind it.
To conclude, Sergio Leone Spaghetti Westerns was grotesque during its release because of his unique style of storytelling. Throughout his career he was famous for three films: A Fistful of Dollar, For a Few more Dollars and The Good, The Bad and The Ugly which is known as the Dollar Trilogy. In Leone’s westerns he parodies the classis westerns in many way which include his unorthodox ant-hero, twisted plots focused on revenge, violence and his use of extreme close-ups. Leone unique style changed the way we look at westerns forever and he felt that “when he went to the cinema, he was often frustrated because he could get what was about to happen ten minutes into the screening.” This led his revolutionary style that shifted the direction of westerns forever.
He talks about distinct variety of genres like the action genres, slasher movies, war films, western, Rambo movies, Bond movies and many others. He tells that the role-played by the superstar Arnold Schwarzenegger, Sylvester Stallone in the action movies was more fascinating than that of an everyday guy dealing with everyday botherations in an phenomenal way. Further he brings out about slasher movies also known as sub-genre of haunted movies and argues, “ In slasher movies, the woman’s entire body is the male psychopathic killer into the ‘bleeding wound’ that signifies castration, slashers concern male anxieties above all”. Another genre is the war films where the main focal point is on violence, action, and forcefully curbs its ability for homosexuality while western movies are mostly based
...ing is a team effort. It is a true art form but one that has many elements that must come together to tell the story from the director’s perspective. This paper explored the mise-en-scene of a clip from A Few Good Men. This included all the components of a scene to include the sets, lighting, costumes, actors, and hairstyles.
The postmodern cinema emerged in the 80s and 90s as a powerfully creative force in Hollywood film-making, helping to form the historic convergence of technology, media culture and consumerism. Departing from the modernist cultural tradition grounded in the faith in historical progress, the norms of industrial society and the Enlightenment, the postmodern film is defined by its disjointed narratives, images of chaos, random violence, a dark view of the human state, death of the hero and the emphasis on technique over content. The postmodernist film accomplishes that by acquiring forms and styles from the traditional methods and mixing them together or decorating them. Thus, the postmodern film challenges the “modern” and the modernist cinema along with its inclinations. It also attempts to transform the mainstream conventions of characterization, narrative and suppresses the audience suspension of disbelief. The postmodern cinema often rejects modernist conventions by manipulating and maneuvering with conventions such as space, time and story-telling. Furthermore, it rejects the traditional “grand-narratives” and totalizing forms such as war, history, love and utopian visions of reality. Instead, it is heavily aimed to create constructed fictions and subjective idealisms.
The imagery associated with bulls and steers is confusing, since it is clearly supportive of bulls over steers. Bulls are associated with passion. Those who identify with bulls through their enthusiasm for bullfighting are called "aficionado" from the Spanish word for passion (131). Those who lack aficion are valueless while a true aficionado is a "buen hombre" (132). The bulls are "beautiful," muscular, aggressive and "dangerous" (139, 141). Because of their physical prowess and their sexual potency, bulls are capable of ascending to the heights of glory. They arouse passions in the crowds who gather to watch them run and fight. In sharp contrast, the steers are weak and emasculate. ...
In the movie, “From Hell” the plot is based around the strategic string of murders of women in a prostitution ring. The success of this movie is accredited to the usage of dramatization, music, and its transitional cut scenes. “From Hell” is an intriguing, suspenseful, thriller that plays off of the audience's perceptions of horror, while also effectively keeping their interest and building suspense throughout the movie.
The only real way to truly understand a story is to understand all aspects of a story and their meanings. The same goes for movies, as they are all just stories being acted out. In Thomas Foster's book, “How to Read Literature Like a Professor”, Foster explains in detail the numerous ingredients of a story. He discusses almost everything that can be found in any given piece of literature. The devices discussed in Foster's book can be found in most movies as well, including in Quentin Tarantino’s cult classic, “Pulp Fiction”. This movie is a complicated tale that follows numerous characters involved in intertwining stories. Tarantino utilizes many devices to make “Pulp Fiction” into an excellent film. In this essay, I will demonstrate how several literary devices described in Foster's book are put to use in Tarantino’s film, “Pulp Fiction”, including quests, archetypes, food, and violence.
Think about your favorite movie. When watching that movie, was there anything about the style of the movie that makes it your favorite? Have you ever thought about why that movie is just so darn good? The answer is because of the the Auteur. An Auteur is the artists behind the movie. They have and individual style and control over all elements of production, which make their movies exclusively unique. If you could put a finger on who the director of a movie is without even seeing the whole film, then the person that made the movie is most likely an auteur director. They have a unique stamp on each of their movies. This essay will be covering Martin Scorsese, you will soon find out that he is one of the best auteur directors in the film industry. This paper will include, but is not limited to two of his movies, Good Fellas, and The Wolf of Wall Street. We will also cover the details on what makes Martin Scorsese's movies unique, such as the common themes, recurring motifs, and filming practices found in their work. Then on
In the moving picture ‘Bella’ the director Alejandro Monteverde uses certain scenes to project a series of ideas and themes to the audience. In order to do so, Monteverde uses a variety of film techniques, which help to develop the narrative. One of the most important parts of the film where these techniques come into play is ‘The home scene’
Lars von Trier is undoubtedly a polarizing filmmaker. His repertoire invokes a range of emotions from earnest avoidance to curious infatuation. He’s been pointed out as a purveyor of misogyny as he famously and deliberately places many of his females in rather unkind situations to say the least (i.e. the brain-searing climax in Antichrist). And his penchant to depict the uncomfortable and sometimes unfathomable has been interpreted as obscene and sensationalist for its own sake. And yet his work continues to prevail, standing on its own, whole and unapologetic.
Pedro Romero comes closest to the embodiment of Hemingways’s code hero because of his strength, courage, and confidence. Brett is enchanted by this handsome, nineteen-year-old matador. He is a fearless figure who confronts death in his occupation; he is not afraid in the bullring and controls the bulls like a master. Pedro is the first man since Jake who causes Brett to lose her self-control. She...
Taxi Driver is an extraordinary explicit film displaying a piece of American vigilante to the extreme. “The end sequence plays like music, not drama: It completes the story on an emotional, not a literal, level. We end not on carnage, but on redemption, which is the goal of so many of Scorses’s characters” (Ebert 455). Taxi Driver is considered to be a psychological thriller with neo-noir elements. “The film is regularly cited by critics, film directors, and audiences alike as one of the greatest films of all time”
The classical Hollywood tradition of filmmaking has been both extremely influential and successful since the 1920s. Furthermore, the classical Hollywood cinema technique of making movies is not limited only to movies in the United States. For instance, “The Road Warrior, although an Australian film, is constructed along classical Hollywood lines” (Bordwell et al. 97). Director Alfonso Cuarón’s Y Tu Mamá También, which was produced and distributed originally in Mexico, is a coming of age story revolving around two young friends, Tenoch and Julio as they go on a several-day road trip to the beach with a woman named Luisa. Through its use of the coming of age narrative, Y Tu Mamá También is a good example of the classical Hollywood cinema form.