Filme Demência

Directed by Carlos Reichenbach and co-written with Inácio Araújo, Filme Demência is a movie inspired by the myth of Faust that follows the heir of a cigarette bankrupt factory named Fausto (Ênio Gonçalves) in his journey to what he thinks of as paradise.

After being captivated by a painting of a tropical island with palm trees and a bright sun, Fausto is convinced he has to go there after he discovers where that place is. He has dreamt of that place. In his dream he is in the water swimming but going nowhere, and when he finally gets there, it is not what he is after. This is the kind of film where the protagonist encounters numerous characters that often speak in aphorisms and lead to momentary detours that alter our perception of a purpose. Said image will haunt Fausto because it seems to follow him and manifest in other photos he comes across. What also haunts him is a Lynchean character whose peculiar demeanor and appearance make for an intriguing one.

Filme Demência has good cinematography where the locations are accentuated with sometimes picturesque composition with our protagonist as the subject. Its cinematography enhances that dreamlike atmosphere of the story, creating as a result a layered journey of allegories.

"Filme Demência" is a curious, intriguing and crazed transposition of Goethe's "Faust" told in modern times and with some touches of inspiring moments. Our lead character Fausto (Ênio Gonçalves) is a disgraced cigarette factory owner who loses everything, gets abandoned by his wife and spends night and day walking around the strets of São Paulo, armed with a stolen gun, encountering acquaintances, strangers and random people while trying to solve the mystery behind strange visions of a young girl and a beautiful beach that seems to haunt him from time to time. For reasons unknown to viewers Fausto must find this girl and this place.

I don't see much relation with the story of Faust except for the sudden appearances of Mephisto (Emilio de Biasi) who shows help to Fausto trying to help with his plans but the creature fails to impress him. We don't have the chance to see the diabolical creature challenging the angel of God in capturing the man's soul, as presented in the classic film by F. W. Murnau. Through the majority of time, Fausto only seems to be losing his soul while killing a lunatic who shot a teacher at a symbolism course or shooting a bandit who tried to rob him after spending the night with a prostitute, and making the robber's accomplice exit the building through the window of which he keeps on hanging several stores above. In other times, it's a dull meeting with a friend, of whom he saves from going to jail for molesting a hustler; or giving a lift to an old lady and an annoying young hitchhiker who falls in love with him - like most of the women in the movie, they all fall for him but he's only interesting in his mission of finding the girl and finding the beach.

In essence, the film follows that ideal that only when we lose everything that we are able to follow our true inner self, to discover new things or maybe go forward to what real life purpose can be, whatever it is. It's only when we lost everything that we are free to do whatever we want.

But with his random actions, Fausto doesn't seem to be the kind of guy who has nothing to lose: after all, he could be arrested, killed, robbed, anything or even fall into Mephisto's commands and lose his own soul - if he has one to lose since we don't know much about him before his journey begins. All we know is that he's trying to discover himself, trying to get rid off of his past - of which he's constantly compared with his successful father; his greedy business associates; and maybe find some good connection with friends from his youth.

I was deeply dazzled by the mystery, enjoyed the lead actor's performance but I was hoping for a more meaningful connection with Faust, the original work. When the movie gave us the conclusion and solved almost everything we needed to know, I was slightly disappointed and I thought the movie had ended way before a more significant ending could be provided. It made it all too easy after all the crazy journey we've been through. But it was good anyway despite some pretentious moments here and there that doesn't add to anything.

Carlos Reichenbach films everything with excellence, providing amazing images of São Paulo as a crazed city that never sleeps and with lots of dangers around the corner, the kind of environment where Fausto can lose himself in the crowd and luckily nothing can happen to him. He becomes another surviving creature of this weird environment and he can manage to play by their despicable rules, becoming a threat to others and himself each moment goes by. Surprisingly good and quite reflective about the human nature and the quests some of us have in our lives and how we conquer them despite all the odds against. 8/10.

São Paulo yesterday as it is today, just few changes

Faustian myth refracts through a prismatic zoetrope of modern city life as it jostles between a mechanized, capitalist playground and neo-gothic daydream-a hexagonal-shaped panopticon of menial tasks and numbing distractions to match commercialized living. The camera spins and twirls as we try to find our balance. Syncopated BPMs create the pulse of the film's score. A satirical slant where enlightenment isn't sought after; it's bought and sold at market value.

Our lead, Fausto, is distinctly aware of this. A man haunted by the shape of innocence in a white gown while actively seeking paradise amidst devils and vices. Impotence is rectified by wielding a gun, cold steel palmed, and sported as a viable transactional method when others fail. Character decisional detours become narrative cul-de-sacs, playing a cruel, twisted game on the troubled soul of our central figure. A disillusioned man with nothing to rebel against, banging at the invisible walls of a metropolitan prison. His tragedy is no more than a minor punchline when next to the larger comedy of it all. The yuppie class is a paid fool-watch how far they've fallen.

A static frequency, a motorcade to nowhere. Paradise lost; a false dream. Cinder the next cigarette and shuffle into the waking sleep.