Entranced Earth (Terra em Transe) (1967)
Critic Consensus: No consensus yet.
Critic Reviews for Entranced Earth (Terra em Transe)
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.
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Audience Reviews for Entranced Earth (Terra em Transe)
A Brechtian allegory of cinematic and historical importance that never feels obsolete, considering that everything remains nearly unchanged when it comes to politicians and their twisted ethics. A delirious and audacious work with spellbinding imagery and no diverting subtlety.
Handheld cameras dance around ugly people doing. . .something vaguely political. I assume things have improved in Brazil, it doesn't hurt that one of their main exports is super-hot women.
An intriguing movie with a lot of problems. Paulo is a poet/journalist in the fictional country of Eldorado. He gets behind a series of political figures, but each turns out to be corrupt, phony and/or ineffective. Like the other Rocha films I've seen, it's good strong black & white cinematography with a playful and idiosyncratic soundtrack. And like the other Rochas, I found it incredibly difficult to get into. Most of the time, people speak in grandiose abstractions, without discussing details. I felt like I lacked a reference point that would help me understand what the hell was going on. I got the basics of it (eventually) but I could rarely latch on to the specifics. It's all so overwrought, especially Paulo, who looked perpetually pissed off. His motivations are unclear and he makes for a poor protagonist. The frequent shifts in time didn't make things any easier, although they were far less problematic than the overall confusion of the narrative. I kept floundering to find an entry point, waiting for things to coalesce into something meaningful and not quite so vague. But it never happened. I was kind of reminded of Resnais and Jodorowsky (an odd pairing, I know) but without much of what makes either of them fascinating. A technically impressive and very dynamic movie, but one I really struggled with and would not care to visit again.
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