s movie, absolutely wonderful story. One of the saddest I've seen, yet so sweetly told and treated. It is the second time I talk about Teresa Villaverde , filmmaker 5 *, Portuguese (pictured) on the blog and is also the second movie I see him and the second time with this and "Transe" , I think I'm pretty sure of inclusion in my top20 wonders of contemporary cinema. And that accounts had recently and I felt really good batch of the year was between 94 and 97, with gems like "An alien crazy" (Tony Gatlif ) "Before the rain" ( Milcho Manchevsky ) and many others. What is hard to understand how his name is not re-known, is very strange that is not on the arthouse circuit, being a shining example but perhaps overshadowed by "the tyrants of luso films': Manoel de Oliveira and Jo ã or Cesar Monteiro ... Too bad, for that reason or another, see Teresa Villaverde films is almost an odyssey, an opportunity that is always in dropper and never be rejected, because they are real surprises . This time, thanks to a series devoted to the prolific Maria de Medeiros in the Film, held recently to mark the International Day Working Women , and its protagonist, I get to see another of his eight titles, a critical filmography: "Três irm ã you" / Three brothers .
thought Aki Kaurismäki was responsible for giving voice to outsiders, who made us understand your poor or desperate circumstances without the tear us out ... And although Villaverde stories are wilder, inevitable, irreversible and violent (and the Kaurimäki, commonplaces of the least advantaged) and style, cinematically, very different, Teresa Villaverde also sculpts the bitter feeling of those born in the heart of a conflict and can not get rid, get rid of him, and unable to stop the wheel entangled, constantly, that web , something which, little by little, I hasten to drift. Internal drift reminiscent of "Rebel without a cause" and, indeed, there is something about that. Villaverde is the wisdom of combining it with something that looks dim, compensate or quell the situation of pressure and unhappiness. Masked dramas with the possibility of change and those moments that one would want them to be eternal, for forever.
A story that begins with an approach almost 'beat ' , of \u200b\u200bpeople who live outside the conventions and most of society, which are supported and are responsible for each others, who share everything, what little they have, which are necessarily selfish, that their rebellion is a response to the lack of affection, they need to leave the city and start again but never achieved. Are 'forgotten', the children in exile, the perennial losers of the eternal oppressor: the father figure. They confronted the father and put in because his authority, and honest and brave, lost issued the battle door to the inside, were left outside the family environment, they are away from the nest as a brood of birds rejected the mother's affection necessary, 'la mamma' (more in a society like the lsl, of children raised and grown with single mothers) admired, needed, the anti-heroine, deeply cowardly, psychotic, dependent, - '.. ay Louca mae '/' mad mother ', saying Helder Helbert -. Are the brothers of Mary, who had to leave before they want to kill the father, save the mother and become even more unhappy than they were ... They could not -O-were not allowed to perform the feat.
Mary. reads the press release:
Maria is twenty years, but can not behave like most people his age. Almost never says what he thinks, and asks what he wants. Almost never tells the truth but never lie. Mata and says he killed. Suffering and says he suffered. Not wanting to be alone, but does not ask company. Ama, but do not know who. Born in Lisbon and was neither going to another city. Maria wants to be always with his brothers, but can not because the world has been organized well. Mary wants to stand all alone. Want to be strong, take care of everyone. Save all the secrets, his and those of others. Can not, the pain is great and she can not stand ...
and Maria de Medeiros a character quite endearing and affectionate, so careful with its own voice, as is customary in Teresa Villaverde, like or containing autobiographical-is great. Absolute character, mixture of innocence and maturity, as a child turned woman and surrogate mother was only a teenager, combining studies and work ... interpretation that took the Award for Best Actress in Venice Film Festival that year (1994), accompanied by a cast of category, Marcelo Urgeghe as Mario, the radio speaker in "Captains of April" (Maria de Medeiros, 2000), that I was warm .. actor that I was totally smitten, which has a striking resemblance to a young Miki Molina, and then Evgeni Sidihin as Jo ão older brother, to close the eternal triad. Triad links and attachments that are composed and recomposed identical but combination with another female component: Teresa, the eternal friend and always possible lover, that basically replaces Mary, the companion of road trip that never starts ... A nouvelle.vaguerismo aportuguesado , like Jim, Judd and Silver contemporaries. Great friends in bad company.
The rest of the cast with some secondary characters but essential, as the teacher of Maria, the only one who seems to listen, propuslsora of kindness, the son of the head of the office where he works half-time trigger a necessary evil, the goofy boyfriend and unconditional ... that takes neither good nor bad, relationships that make the balance that seemed to betray that, just barely, Mary kept .. Bonito's cameo Luis Miguel Cintra , a figure that represents as little lusa culture and intellectual.
all placed in a 'grounds' that is so well preserved, despite the ' noventero look', the film T. Villaverde, for a forceful style, mature, even if only 45 years, "European markedly while rooted native and Portuguese, by the clever combination of models, by the intense mixture. A state director of grace, in possession of truth, highly rated film. A native film-feelings on the line and the intensity of Faith Akin, or alubión also remembered for the Pandora's box that is the plot, the disenchanted Giuseppe Tornatore and crude, of "The Sconosciuto" ( I recommend to see and link to post) - which manages the flow of the story without a strictly conventional narrative, which makes everything so personal, that has a tremendous ability and good like to try the plane, who knows how to make small details and poetic touches in such austerity, these stories filled with unease, he knows even-and this is the best, give them a huge load of sweetness, light amid the darkness of the characters on the edge of the city gray. Something that absorbs the gravity of history, plummeting, melodramatic load absolute Shakespeare, something that can pick up, give strength to help support these characters adverse circumstances in which they live, their natural tendency drifting to the need for suicide, the membership underworld ... history that delves into the underworld and whose external manifestations locations- of the soul are also, which to me is an addiction: to recognize the intricacies of the city of my dreams, Lisbon , a Lisbon that I moved, once again, see, that opens the film with a plane generally from the top of the Mouraria a few meters of which was my home. And then and only leads by 'becos' (alleys), a peripheral hangouts and violent, decadent, seedy, B-sides of the city, shot mostly in Cais de Sodré ... A Lisboa restless, throbbing, disfigured despite its beauty between the explosion and closure, inhabited by characters and possible outcomes for different types of death. If you have a choice, at least once. If all that is contagious and gets to learn is to jump into the abyss and fall, hitting reality ... The friendship and love over the tragedy but to avoid .
certainly "Tres Irmaos" is a masterpiece. With timings perfect, frighteningly real dialogue, a wonderful design characters (and a deal to height), a roles and ability to break up with unpredictable situations in their complexity are totally universal. A film appears to do as you go. Honest, organic, deep, touching.
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