

Who is the secret agent? I’m still not sure.
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I’m not sure what I expected from feature from Brazilian director Gabriel Mascaro. For some reason I thought it had elements of magical realism, probably something to do with the image above (that I obviously didn’t look at closely).
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Although this is a strong ensemble piece about three generations of women, it felt like it came in a long line of films that I had seen over the last few weeks about women who are essentially damaged.
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Like Crossing, Toll looks at queerness through the eyes of the non-queer family members who alienate and marginalise them.
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Juliana Rojas likes to blend contemporary Brazilian social critique with the surreal and supernatural, as evidenced by her queer werewolf musical (Good Manners (2018)).
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Kleber Mendonça Filho takes us on a slow, self referential meander through his home suburb of Recife in Brazil and the history of its cinemas.
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A worthy but meandering elegy to the many transgender people murdered in Brazil, the highest per capita in the world, according to the end credits.
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Image via miff.com.au
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Unrolling like a gentle dream, Beatriz Seigner’s Los Silencios takes the serious subject of the displacement of Colombian refugees and tells it in a lyrical and ethereal way. Continue reading