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muito bom, muito bem dirigido. Roteiro excelente. Mostra um brasil de verdade. Tem muitas camadas e simbologias.
Certamente um dos melhores filmes do ano.
O filme é uma grande crítica principalmente pensando no momento atual em que a política brasileira passa. A inspiração em Tarantino é clara, mas interpreta o modo de filme do diretor incorcorporando-o na realidade brasileira sem tirar o estilo do diretor.
Desenvolvimento de história fraca, crítica superficial e a única surpresa é o excesso de violência.
The movie is well shot but gets lost in its message presenting a scenario that pulls you out of your emersion at every second to show a small town that behaves very different from what northeastern Brazilians look like. The motion picture strives to be forced classic but extrapolates racial relations presenting an unreal situation with naked people all around where the gang members are the saviors protecting the population from blood driven gringos. Overall the french influence in the movie doesn't enhance the movie at any moment making the nakedness and weirdness seem always out of place. A good concept nevertheless but shallow execution leaving not much room for interpretation.
Um dos melhores filmes brasileiros de todos os tempos. Com certeza entrará para a história do cinema nacional.
One of the joys of Film Festivals is you get to see a film cold and be surprised or shocked by what you see. This Brazilian film, confidently co-directed and co-written with much efficiency and boldness by Kleber Mendonca Filho and Juliano Dornelles is one weird, twisted cookie of a film that certainly surprised and shocked me. Set in a near-future a few years from now, a water truck drives through a remote road littered with coffins and the film deliberately withholds its context for the first 30-40 minutes, slowly teasing out information about the fictional town of Bacurau, how the place and its inhabitants operate in this dystopic world, as ominous signs surface hinting that things are about to go very wrong. This is a genre-twisting film that takes its time slowly building to its Grand Guignol finale. Part Spaghetti Western, part social satire, part horror but the biggest influence is John Carpenter, named checked in Portuguese as the name of the school and whose music is used at a pivotal point when the film finally reveals its hand. Saying any more will spoil the joys or horrors of watching this. Suffice to say some will be thrilled by the unexpected left-field turns and twists and find the ending satisfyingly cathartic but others might scratch their heads and find the violence over-the-top and on the unnecessarily sadistic side. Personally, I admire the guts of the writers who produced something so uncompromising and raw that is able to shock and thrill with subtexts bubbling underneath; but I do feel some of it is totally bonkers and too gruesome, if one is unprepared for it. I'd recommend watching this when it's dark outside as no one needs to be shouted at by Udo Kier so early on a Saturday morning
Gostei bastante do filme e eu que sou do nordeste me indentifiquei mais ainda, achei muito engraçado e gostei da violencia que foi bem gor, um defeito desse filme é que ele é muito parado ate ter as mortes não acontece nada de interessante, mas o final de bacurau me lembrou do era uma vez em...hollywood, quando o publico comemorou e vibrou com as mortes dos "vilões"
The greatest film of the year. Just this.
O verdadeiro Faroeste Caboclo.