Bandida: Die Nummer 1

Amusing movie about the history of crime in the largest slum in Rio de Janeiro, Rocinha, emphasizing the life of the first female narcotics leader, who also wrote the book in which the film is based. There are many qualities besides the interesting story. Good direction and edition provide a pace which allow developping well the charcters and events and also attracting spectators' attention throughout the movie. It is also visually nice, using well different filters, lights, fog, sometimes emulating the 80s in a vintage way, in others showing pink and néon in a stylish crime girl power look. I liked a lot each segment portraying Rebecca's life since childhood, with class and patriarchy blows, all crime and drug lords with their unique traits, the way African Brazilian religion crossed personal relations, the connetion between crime and police along decades, the remarkable and unusual music score choices. To resume, I must add that the movie is considerably light given the great violence and serious social issues which are depicted and not hidden.

Outlaw, available on Netflix as I write this review (September 2024), is a Brazilian film chronicling the life of Rebecca from her childhood in a Rio de Janeiro favella to her adult days as a gangster in the same favella.

The film's story is believable and realistic. It depicts the struggles of life in the slums including the reality of of corruption and the drug trade. While the movie focuses on activities inside one favella, the movie is an indictment of corruption, poor governance and social inequality in contemporary Brazil (and many other societies).

Outlaw is a socially aware, entertaining film which can be viewed on many levels. Watch it for the action of gang warfare in a Brazilian favella or as a social commentary on modern society. Your choice.

I am sure there are many other social crime dramas like this one from Latin America, not only Brazil. It is rough, gritty, brutal and gloomy too. The true reality of life for those outcasts living in the favelas, Brazilian ghettos. The main female character is of course interesting, powerful. It may be seen as a kind of biopic told in the Martin Scorcese's manner: GOOD FELLLAS or A BRONX TALE - directed by Bob De Niro but under Scorcese's inspiration. So, yes, this cheap Brazilian production is worth the watch, but it is not destined to any audiences. There is no beautiful chicks in bikini snooping around swimming pools and drinking daiquiris, no sunshine and golden sands beaches, romance, This is not like a series from Mexico about a female drug ring kingpin for whom the sun always shines.... See what I am talking about? This is bloody and downbeat. Just enjoy.

Well directed and highly stylish, with beautiful use of colors, aspect ratio variations and filters, it tells a dramatic romantic tragedy that makes great use of the aesthetics of a terrifying reality.

Great music by Tejo Damasceno. His bold music choices really enhance Miguel Vassy's photography and his chemistry with director João Wainer.

Gritty and dark, but with heart too. It's genuine enough to the reality of life for us seen as outcasts living in the favelas.

Maria delivers a good performance, interesting, powerful, but drowning in traumas hidden by layers of makeup and the lust of her beautiful red nails.

A biographical film that gives itself creative freedom to tell the story in a less brutal way, associated with this style of film due to the great influence of films like City of God, Pixote and City of Men.

This different approach, less visceral and more melancholic, is one of the most interesting points of the film, sacrificing weight for rhythm and style.

Despite distancing itself from the brutal most of the time, it does not demonize people buried in crime.

Wainer does not confuse the characteristics of cartels or mafias with Brazilian factions. The national identity, even if it is immoral, does not lose focus. The film embraces showing what is really seen as luxury for someone in this lifestyle; freedom and power, with a beautiful touch of the mystical in the use of Candomblé and the dynamics of belief among criminals.

Due to the rich cast of non-actors, mostly newcomers, with rappers and singers from these communities, although I greatly admire the boldness of the selection, the acting in the film wavers, with several moments lacking the refinement of other actors in the cast, such as Milhem Cortaz and Natalia Lage.

I highlight Sant's coldness as Boca Mole.

His performance surprised me, being one of the ones that best captures the balance of the violent but also respectful nature of the favela culture of Brazilian organized crime and the dynamics with civilians, balancing the decadence and also the lack of that same respect for civilians by criminals like Pará.