Mary Poppins Returns
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All Critics (4)
| Top Critics (3)
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I have now seen enough of Rocha's work to know that I dislike it for its own sake, and not for the unfamiliarity of its locale and people or for the ritual obsessiveness of its themes.
One of the later entries (1966) in Brazil's short-lived Cinema Novo movement, applying New Wave pyrotechnics to popular and political mythology.
Rocha's frenzied mise-en-scene, which borrows from Fellini, Antonioni, and European avant-garde theater, is so stylized and self-referential that it probably appealed less to the masses than to the left-wing intelligentsia it scrutinizes.
This Brechtian allegory of huge cinematic and historical importance never feels obsolete considering that a lot remains unchanged when it comes to politicians and their twisted ethics, and it is a delirious and audacious film of spellbinding imagery with no diverting subtlety.
Rocha the anarchist...well,partially.The Autran-Lewgoy-Filho trio of compulsive reactions is more than enough for the disbelievers to continue watching an operatic motion picture way ahead of its time.Sure,it's a flashback but what a flashback that was!!!
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