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BACURAU

BACURAU

Juliano Dornelles, Kleber Mendonça Filho · Brazil/France · 2019 · 131 mins · NR · Portuguese with subtitles, English
Awards IMDb8191%

Please note: this is an online film that can be rented at any time (not only at 1:23 as our calendar states). 50% of rental proceeds will go towards supporting Cinecenta during COVID-19. Thank you for your support! Watch trailer or rent now:

https://kinomarquee.com/film/bacurau/5e7f90c105afea00018af92d?venue_id=524

 

It isn’t remotely surprising that a political film can be gut-splitting entertainment; if the legacy of the American Western proves anything, it’s this. But Bacurau doesn’t merely reflect that legacy. It outdoes it.

The people of Bacurau, a small, fictional town in the backcountry of Northeastern Brazil, have problems. The matriarch of the village has died, and though it has not lessened the village’s resolve, it feels of a piece with Bacurau’s ongoing travails. The people here are happy, familial, full of tradition—no strangers to love and enchantment. But nor are they strangers to disenfranchisement. For one thing, the presiding political powers have cut off the region’s access to water. Vaccines—polio, snake venom—need to be smuggled in--which—bad as this all is—is nonetheless an explainable set of phenomena. But what about the other problems? There’s that strange something in the sky—an unidentifiable who-knows-what—that’s been flitting around the periphery of the village. And then there’s the disappearance, not of a person, but of Bacurau itself: it’s been erased from the map.

This is undeniably a film about a community fighting back. Its stars—Bárbara Colen, Thomas Aquino, Sônia Braga, and others—sew the broader community of actors, a good number of them non-professional, into a genuine force. --Vanity Fair

"It's a rallying cry against structural injustice told through a satisfying blend of western and science fiction influences.--Chicago Reader

"[A] boldly inventive political fantasy... offers a thrillingly imaginative playbook for resistance."--The New Yorker

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