This is often referred to as critical hackwork for reviewing how a city acts as a character in a film for a reasonable reason that is often not true. When sensitively and precisely captured on the screen, a city can reshape and change the characters in it. Sao Paulo Rad Modernist Labyrinth, written in the first narrative by Brazilian documentmaker Matthias Mariani, “Listen to Your Eyes,” serves just that purpose, showing it as a place where immigrants come to lose themselves and discover themselves in a jolt. New roots in the cracks of its geometric concrete. Perhaps a missing person drama, his older brother expelled by a Nigerian visitor, explores the “burn your eyes” twist into something more magical and mysterious as part of his central mystery change.
One of the most celebrated premieres of the Panorama sidebar at this year’s Berlinale, “Burn Your Eyes” could become a festival major in a year free from the epidemic. As things stand, Netflix’s scraping has had a significant impact on its shrinking big-screen journey, where it will find a suitable international audience from July 29 (Brazilian-French co-production, Igbo to Hungarian film skates) for a melodic bizarre film. An impressive result that doesn’t make things easier for the audience: the description is simple but simple, “Burn Your Eyes” becomes more opaque and obscure as it sinks into magical realism and rhetorical philosophical music. If the setup is a little more intriguing than Peof’s, it’s still bursting with original, crystal beauty work, unstable, retrograde ideas.
Founded in the Nigerian town of Nasukka in 1986, Brother Amadi and Ikena establish a childhood bond as they play a complex game of make-believe involving spirits and guardian angels. Thirty years later, their shared cosmic stability is instantly holding them together. Ikenna (Chukudi UG) has moved to Brazil to fulfill the perennial responsibilities of the first son of the first family. After a year of radio silence, the gentle-natured musician Amadi (OC. Ukeje) was sent to Sওo Paulo to look for him, scraping only a few pieces of information that turned out to be completely false.
It soon became clear that Ikenna was never a professor: rather his “statistics” work was concerned with the development of complex gambling algorithms that may or may not have the application of a larger existence. While Ikenna was growing up, we encountered a patchwork of acquaintances who filled in the details of her brother’s near-unknown second life – including ex-boyfriend Emilia (Indira Nascimento, in full disguise), with whom we soon began an unexpected affair, though not shared. The words of the language. Not long after his quest was derailed by the inexperienced pull of the unfamiliar yet persuasive city and ample opportunities for its turn and rearrangement.
Six authors are submitted with additional, flexible scripts of the photo; One of them, Chika Anadu, wrote and directed the impressive 2013 festival hit “Be for Boy”, which was conducted on a more conventional socio-realistic register. Not that “burn your eyes” removes itself from the harsh reality. The harsh existence of the vast African community in Sao Paulo is illustrated by the sharp, clear description, while the general social and economic catastrophe of Bolsonaro-era Brazil is clearly at the heart of the film’s great composition but the granular urban table: more needed than your guardian to survive on this street.
Shooting in a fragmented 4: 3 ratio that emphasizes the density of this urban landscape, not to mention the risky heights of its under-occupied skyscrapers, Mariani and photographer Leo Bittencourt evoke a wide-ranging homage to the city that still has no beautiful Valentine. Thrusting its intense architecture, symmetrical forms often dominate the frame, removing the characters in it; Elsewhere roaring freeways enter intimate domestic spaces and have less than an inch of breathing space between them. It’s easy to see how newcomers can succumb to the city’s irresistible noise and rage. Among its more teased poems, “Burn Your Eyes” works clearly enough as a metaphor for the thorny court of immigrants with new homes and for separation from past lives.