Medusa

Medusa: A satire about misogyny, hypocrisy and the rise of political extremism. It's almost as if David Lynch directed Cabaret, taking a town as a microcosm of Bolsanero's Brazil. A girl gang wearing white masks, reminiscent of The Purge or Clockwork Orange roam the streets, hunting female sinners, physically attacking them, making them admit their sins of lesbianism, prostitution or adultery. This gang is also an Evangelical vocal group the Treasures run by Mariana (Mari Oliveira) and lead singer Michele (Lara Tremouroux). Their dance routines are counterposed to those of their male equivalents the Watchmen who train to take up their positions as the Morality Police. Tomorrow belongs to them. There is also the Evangelical Prophet who is running for election and uses these forces to control the streets, Even the girls selfies must be taken in a christian manner, Mariana is terribly scarred on her face when a victim fights back, she loses her job as a beautician and goes in search of a legendary figure who has inspired the Treasures venturing into grim clinics which care for those in comas. A touch of magical realism kicks in here as her search involves a reawakening. Some really disturbing scenes but the possibilities of redemption turning the tables on dark forces are also explored, A film you will mull over in your mind long after the final credits have rolled. Written & Directed by Anita Rocha da Silveira. 8/10.

With a running time of over two hours, Medusa was in need of some serious editing. A group of eight women are vigilantes at night, wearing white masks while dishing out beatings to those in need of punishment for their sins. The unworthy are made to repent while promising to reform while dedicating the rest of their lives to Jesus.

Mari(Mari Oliveira) is the lead actress and she is the only positive aspect of this tedious and drawn out story.

Mari ends up working at a hospital for comatose patients and things go from bad to worse for the young nurse. I saw this posted as horror and I was waiting for a something scary to happen and it never did.

Medusa is a bore fest.

I saw the premiere of Medusa at Cannes Film Festival and had no expectations whatsoever. I was totally gripped throughout and immediately invested in the narrative and characters. The colour palette of the movie is intense; oranges, reds, greens and neons- all deeply symbolic. The soundtrack is amazing and helps to keep the pace moving along. Bruna's performance is layered and career defining. I loved how stylised the film is. The unapologetically feminist conclusion makes this film feel totally relevant and a definite one to watch. Would highly recommend.

No pun intended - the movie has a lot of things for the viewer to discover. Some are subtle, others are quite on the nose. It doesn't hurt if you are a bit aware of politics in Brazil - but it also is a gender role (play - again no pun intended). You could compare it to other things that portray patriarchy - Handmaids Tale for example.

There is also a lot of religious themes in it - the Christian selfie being one of the most on the nose things in it. But also one that can be seen as the most funny - depending on how you perceive it and what kind of humor you dig.

But the movie overall is more serious - if anything you can laugh about things because you can see how strange and wrong they are. Unfortunately many of the things portrayed are still happening around the world. Brazil elected a new leader ... and maybe that will change certain things. Though the riots a few weeks ago may not be the most promising sign ... let's wait and see.

Filmmakers are here to hold a mirror and show society what is going on ... not an easy movie to watch and many long scenes (pacing may feel like its dragging) ... but very well shot and fantastically acted!

Thematically, structurally, and in the way it ambiguously employs the fantastic, this is a film akin to another Brazilian film from 2022, "Raquel 1:1."

Both address the themes effectively (yes, these are crazy people), feature excellent performances by young actors, skillfully intertwine the coming-of-age aspects with the uncertainties and certainties of age, are visually inspiring and thought-provoking to an equal extent, falling slightly short of fully exploring their enormous potential.

Trimming off 20 minutes would make this film more narratively coherent. A different ending might be desired by many. Yet, I can't overlook all the great things it does so well, both in terms of what it has to say (and especially how it does it) and in its highly commendable technical aspects. The main lead is brilliant.