Bel Borba Aqui (2012)
"The People's Picasso." For the past 35 years, Bel Borba has been transforming his hometown of Salvador, Brazil with an amazing array of works of public art. Using paint, sand, tiles, clay, metal, wood, and just about anything else he comes across, Bel Borba makes art that is a natural extension of his exuberant personality. He remakes an abandoned building by using its steel beams to fashion a façade of faces. An airplane makes a terrific surface on which to paint a plane-sized fish. Coke bottles are fashioned into a huge dog, and unadorned surfaces are canvases crying out for transformation. Set to the rhythms of Brazil, BEL BORBA AQUI introduces a one-man life-force who proves that his country is a lot more than favelas, soccer, and drugs. … More
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Critic Reviews for Bel Borba Aqui
Bel Borba Aqui is about one man and his singular vision...a dedicated rascal, unafraid to ruffle feathers, and always true to himself.
A sunny vacation of a film, a documentary that's as jaunty and improvisational as its colorful subject, prolific Brazilian artist Bel Borba.
The film, by Burt Sun and Andre Costantini, is a celebration of the man and his work - for critical perspective, you'll have to look elsewhere.
Endearing doc focuses on the pleasure of creating over the rigors of artistry.
The directors, Burt Sun and André Costantini, never delve into his psyche. On the plus side is Costantini's luscious cinematography.
Exhilarating, dazzlingly colorful portrait of an artist with the ability to literally transform the world around him.
The docu ties itself too tightly to its subject, mimicking forms and rhythms it never fully makes its own.
A fascinating documentary portrait of an energetic and creative street artist from Salvador Brazil.
We're left to imagine the hero's formative struggles and learn almost nothing about the history and distinctiveness of Salvador.
The sequences blur together into something resembling a tourist-office promo.
Practically a montage of color, music, and Borba's constant laughter ...
There's no pointing toward something other than the work itself, no poetic digression, no suggestion of a conceptual dimensionality to the work being produced.
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