Recenziók (1)
One of the main representatives of the so-called cinema marginal, Rogerio Sganzerla (together with Julio Bressan, another exponent of cinema marginal who contributed to editing and production), once again directed a film that combines, with its ironic, cynical, and sarcastic content, as well as narrative iconoclasm avant-garde with mockery of the world and oneself. He referred to it as the "aesthetics of garbage." The unbelievable nihilistic energy of the film, subverting traditional ideological and film schemes, emanates from every shot – the long sequences shot with a handheld camera, sometimes creating the illusion of quasi-documentary, if it weren't for being used to capture (self-)destructive orgies, aimless farces of characters despising both their surroundings and themselves, a carnival of exaggerated eccentricity surrounding a (most likely) wealthy oddball and his wives (characteristically teetering on the edge of a depressive circus troupe). The film has a plot that leads nowhere, an underground fragmentation of a sequence of atomized scenes connected "only" (and therein lies the whole simple genius) by that roaring energetic rebellion, imprinting itself on the entire work. /// Sganzerla himself described his filmmaking as follows: "I will never transmit sanitized ideas, eloquent discourses or plastic images before the garbage (…) Crushed and exploited, the colonized can only invent their own form of suffocation: the scream of protest comes from an abortive ‘mise en scène‘ (…) I’ll continue to make an underdeveloped cinema by condition and vocation, barbarian and ours, anticulturalist." (Annotations from the Edge of an Abyss: Rogério Sganzerla’s Anthropophagic Film Collages, J. Didaco, Senses of Cinema, 2004, issue 31).
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