PhD Candidate in Cinema Studies at NYU; ex-editor of Cinética; film writer and artist. fabioandrade.me
"Los Conductos does not have a center, but it is not decentralized. In fact, the compositional strategy of the film constantly alludes to a center that isn’t there – a gunshot that happens off-screen; a bullet hole on a shirt that becomes a tunnel; a balloon that floats aimlessly, full of air, full of space. The film is obsessed with its own heart long after it has been removed, therefore it devotes all its time and creativity to scrutinize the surroundings of the void. If the camera is a conducto, more than a conductor, its channels flow in cabotage."
"While recent noteworthy features like Kleber Mendonça Filho and Juliano Dornelles’ Bacurau (2019) and Juliana Rojas and Marco Dutra’s Good Manners (2017) stretched the conventions of the genre to express the many afterlives of colonialism, here it is the genre itself that is held up for investigation, as if the catharsis of horror was intrinsically denied by the undocumented monstrosity that constitutes the present. In its strange irregularity, Pajeú suggests a disturbing possibility: since the self-appeasing violence of Brazilian history…
This review may contain spoilers. I can handle the truth.
Originally published at fabioandrade.me
For the sake of the song
The title of Araby (Arábia) – an enigmatic choice for a film set in Minas Gerais, Brazil – appears twice during its 96 minutes. The first time is as a conventional title card, except that it is introduced over 20 minutes into the film, separated from the opening credits. It’s a revealing choice not only because it is unusual, although the film’s movement could be summarized in this displacement: to…