Mundo do Cinema, by Jr. Schutt Costa . 04/09/2014

Mundo do Cinema, by Jr. Schutt Costa . 04/09/2014
04 setembro 09:36 2014 Imprimir

mundo do cinema ed1695 20140904

“ONCE UPON A TIME, VERONICA” ****

For many years, Brazilian cinema has been trying hard to develop its identity following the political, economical and social changes the industry’s been facing since the reawakening in the early 90’s. Back in the 60’s many directors refused to follow the standards of storytelling, creating the Cinema Novo movement, which contrasts with the sophisticated productions, giving audiences a taste of revolution and government criticism on screen. There’s something similar happening now, with the rise of new and young directors creating a showcase for the aspirations of urbanity and the social problems of health, education and security systems. Brazilian cinema is breathing fresh and authentic, stepping into new shapes and finding a natural voice; it has also found a new home, an effervescent, mysterious and cheerful landscape, where the depiction of human perspectives feels like an intriguing look on modern behavior and the insecurities of the big city. That’s Recife. Kleber Mendonça Filho opened up space for awareness of the industry made in the sunny seaside Northeast region with the acclaimed “Neighboring Sounds”, a breakthrough study of fear, violence and greed. Now, Marcelo Gomes proves again his visionary skills, not analyzing the disturbing facts of the clash between classes, but investigating what is like to be young amidst a social transformation and facing the obstacles of environmental evolution. Veronica maintains the habit of recording her voice, describing her daily and exciting activities. The film is narrated through this voice-off aspect(similar to what he used in “Travel Because I Have To…”), as a metaphor of a beautiful and talented woman who isn’t capable of setting herself free as she deals with constant obstacles forming a barricade on her future, but trusts her emotions to a sound-recorder. Gradually, Veronica sees herself challenged by a crisis taking three forms, professional, familiar and emotional: recently graduated, she kicks off her medical career, assisting lunatic and difficult patients in a public Hospital, aware that these are reflections of her own weakness; her father, whom she lives with, is growing older and sick, becoming the core of her attention and total devotion; she looks for joy when hanging out with girlfriends at local clubs, and shelter in the arms of the men she sleeps with; She looks deep into the horizon, and tells herself, she needs help. On the top of all this, she’s forced by nature to decide her future as a result of her anxiety: she’s offered a job in a private clinic; she’s got to move to a better place for her father’s sake and is divided when a man makes it clear that he’s planning a life together. Gomes uses this complex, confused and confronted character to build a ferocious and fearless examination on womanhood, exploring contemporary issues through her crisis and her vivid enthusiasm for life. His screenplay feels so raw and honest, as the camera observes every detail of her feelings, including her sexual encounters, creating extremely hot scenes. Hermila Guedes shines as the protagonist with natural charisma and sensuality, while the precise editing, the jazzy music and the grandiosity of the cinematography, capturing incredible architectural angles of people and landscape, elevate the film to an exhilarating manifestation of a new cinematic language, Pernambuco style. (Runs September 8-14 at MoMA, 11 West 53rd Street, NYC)

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