Carnaval provides a convenient cover story for the deaths and disappearances of nearly 100 people in the Secret Agent (Kleber Mendonça Filho), where Kleber Mendonça Filho’s powerful sense memory is immersed in sights, sounds and suffocating climates, including politics and weather - Brazilian director - 1977 Recife. According to the opening champion of the Super Preparation Thriller, it's a huge "prank" period, though it's too light to describe everyday corruption that permeates almost every aspect of this 160-minute meat period. Mendonça remembers it well, showing that even the worst times can inspire an unjust nostalgic feeling.
The 56-year-old director was only eight years old when the filming was filmed - roughly the same as his protagonist's son Fernando. Mendonça not only demonstrates a great ability to recreate, but also brings us back to that time with oppressive heat and paranoia.
Throughout the film, these guys don’t have shirts to work, which is the only way to deal with the temperature – but it’s nothing compared to the daily pressure on ordinary citizens under military dictatorship, and their grip lasts for another eight years. Unlike Walter Salles' recent "I Still Here", this more genre project has nothing to do with political kidnapping (at least not directly) as Moura's "Marcelo" (not his real name) escaped north Brazil reunion with his son.
On his way to the wildlife, he entered a gas station where a body covered in cardboard, a few meters from the fuel pump, an image that could be brought up from Mario Bava's films of the same period. In this world, life seems almost worthless, and because of a lack of interest, two federal policemen showed in the body to establish why Marcelo could not seek help from the authorities.
If it weren't for the title, we probably wouldn't realize we were watching a suspense movie, and even then, it wasn't really a choice for Vibe Mendonça - although the stylistic choice made John John Carpenter (Panavision Lenses), Brian de Palma (Split Screen) and Martin Scorseses (Popsic Music pealedeedealed Drops) respond to John John Carpenter (Panavision Lenses). Like the filmmaker of the French New Wave, Mendenza began his career as a journalist and critic, and this sensitivity injected into each frame, setting an attractive balance between originality and tribute.
Here we find him in Hitchcock mode as a strong government official had signed a contract with Marcelo, forcing him to seek asylum with an old woman in Recife, who had hiding about six others. Together, they represent the temporary resistance movement, which consists mainly of "long-headed," homosexuals and outspoken women.
The "secret broker" of the same name is not Marcel (a university research scientist), but may be a woman named Elza (Maria Fernanda Cândido), who arranged his alias, and also a job in the office of the Identity Proof. There, he is free to search for records of any documents that may be related to his late mother, and in the end of the film's current moment, its meaning becomes clear (the clean shaved Mura appears in the second character).
It was shocking when Mendonça first cut to a pair of contemporary college students from 1977, whose job was to transcribe audio videos related to the Marcelo case - they also unconventional candidates' secret agent status, invisible, and thus invisible is to reveal past situations through clues. There is not enough evidence in Marcelo's documents to understand what happened to this man, but that doesn't stop Mendonça from giving us all pictures, a series of revelations, just as it does in a real investigation. However, no authority attempts to correct injustice here. This informal investigation exists in our interests alone.
Marcelo, who was working on the first day of his job at the Recife Identity Office, observed a double standard, with the dynamic that people like him could be killed without a crime. This is just one of many tangential criticisms of the directorial group in Brazilian society, and the film may have been conducted in less than two hours without such off-topics.
Write a scene explicitly for Udo Kier in which the cult star of "Bacurau" plays a German tailor who lifts his shirt to reveal scars caused during World War II. The Jewish immigrant is a source of entertainment for local police, which is a source of entertainment for local police, but also reminds their residents that they live among soldiers who dump the ocean at sea, which is their secret of the ocean, and their secret is the secret of the ocean. Unless they are consumed by sharks that are subsequently captured and studied by marine scientists. This is one of the strange things that happen in Mendonça's slippery and constantly surprising narrative.
When the tabloids turn into human legs found in the belly of sharks, the public goes crazy. The story turned into a viral sensation decades before social media, inspiring local theater owners to bring their “chin” back to the theater, while also sparking cruel media coverage of “furry legs.” Mendonça imagines these stories in the form of a sh-lock exploitation film in a delicious, absolutely angsai, where an invisible limb lurks in the bushes of a local park, jumps out and attacks the gay men cruising there - suggesting how these stories were sown by the regime to be discouraged.
It happens that Marcelo's father-in-law (Carlos Francisco) runs the city's Boa Vista cinema, where "Omen" draws audiences crazy. Mendonça's previous work, Pictures of Ghosts, mourned the loss of Recife's film palace, with the eulogy extending to "Agents." Mendonça stuffs the movie with vivid time-locking details: vintage American cars and vinyl records, token-craving phone booths and vintage printing presses, obscene skinny shorts and stuffy heat.
These elements all contribute to a strong sense of position, which literally has been filtered through the footage in the movie. Mendonça took film digitally with old-fashioned camera equipment to achieve high contrast, the distorted widescreen looked consistent with that era. But, there is no doubt that the director shifted his focus from political dissidents to different heroes: queer escapees and women of color, who sit with Marcelo in the best scenes of the film, and they share stories that have never been recorded, and are honored for the first time here.