VALUTAZIONE IMDb
6,3/10
3514
LA TUA VALUTAZIONE
Aggiungi una trama nella tua linguaShortly after failing to rescue a drowning man, Donato meets Konrad, a friend of the victim. They soon begin a relationship which seems doomed from the start, while Donato's past catches up ... Leggi tuttoShortly after failing to rescue a drowning man, Donato meets Konrad, a friend of the victim. They soon begin a relationship which seems doomed from the start, while Donato's past catches up with him.Shortly after failing to rescue a drowning man, Donato meets Konrad, a friend of the victim. They soon begin a relationship which seems doomed from the start, while Donato's past catches up with him.
- Regia
- Sceneggiatura
- Star
- Premi
- 11 vittorie e 20 candidature totali
Demick Lopes
- Capitão Motta
- (as Démick Lopes)
Yannik Burwiek
- Filho de Heiko
- (as Yannik Burwieck)
Jesuíta Barbosa
- Ayrton - 18 anos
- (as Jesuita Barbosa)
Recensioni in evidenza
"Beach" opens with two motorcycle riders riding along the sand, and cooling off in the waters of a nearby beach; When one of them drowns, the lifeguard tries, but fails to save him. The lifeguard Doni, ( Wagner Moura) strikes up a "friendship" with the buddy of the guy that was lost (Clemens Schick). Lots of hot guys. The friendship turns into more... but the plot development moves pretty slowly. Konrad wants Doni to stay, but Doni wants to get back to his job and his family. Full frontal nudity. Lots of butt shots. Not a lot of dialogue, but maybe that's part of the charm. A whole lot of dancing in nightclubs. Some GREAT scenes of a giant indoor aquarium, and also many ocean scenes. Then his family issues catch up with him. Doni must decide what's important to him. The ending was a little metaphysical, but you can judge for yourself. Certainly worth the price of a DVD on amazon.com.
Directed by Brazilian director Karim Aïnouz, who has done numerous films. Co-wrote this with Felipe Bragança. Very Euro.
Directed by Brazilian director Karim Aïnouz, who has done numerous films. Co-wrote this with Felipe Bragança. Very Euro.
Actually, this movie does not bring anything new to the Brazilian cinema.
I found its story totally lame. What about this synopsis after all? And it solely relies on the (already-way-too-mainstream) shocking sexually-appealing feature.
Also, German seems like the easiest language to be learned by a regular Brazilian, as the confusing time line does not allow to understand how long the main character spends on Germany. Same for his young brother, for whom the language-learning process has - again - a lame explanation.
Score is 3 out of 10 just for the few nice shots, even though the slowness of this movie is definitely boring.
I found its story totally lame. What about this synopsis after all? And it solely relies on the (already-way-too-mainstream) shocking sexually-appealing feature.
Also, German seems like the easiest language to be learned by a regular Brazilian, as the confusing time line does not allow to understand how long the main character spends on Germany. Same for his young brother, for whom the language-learning process has - again - a lame explanation.
Score is 3 out of 10 just for the few nice shots, even though the slowness of this movie is definitely boring.
An award-winning screenwriter once told me the secret to his success. It's knowing and never forgetting the essence of film (and this holds true for directors, actors, cinematographers, make-up artists, and production designers as well).
Simply put, "A movie is a story that's told with pictures. Pictures that move." Every line, every shot, every scene, every setting, every prop, should be informed by this.
Few films exemplify this as well as Karim Aïnouz' "Praia do Futuro." Ainouz has said, "For me film is time, space, and sound distilled in a moving image."
It's also, you can see clearly from this film, about bodies moving in time and space and within architecture.
(There's one memorable scene of muscular lifeguards training on the beach and then running into the sea that's right out of poet Walt Whitman's "I Sing the Body Electric.")
Every shot, every scene in this spare, visual style of storytelling is a work of art, which shouldn't be surprising as Ainouz came to film making in a roundabout way, leaving Fortaleza, Brazil (where the opening of "Praia do Futuro" is set) to study architecture in Brazil's futuristic capital, Brasilia. He then studied fine art in New York, took up painting and photography, only to finally study film in graduate school at NYU. He sees himself primarily as a visual artist.
This is a film about fear and courage, about risking it all. It's also about displacement and freedom. But, unlike Hollywood films, it never spells anything out. These ideas are dealt with elliptically and obliquely and usually through movement and visuals rather than through dialogue. The protagonists move through water and dance and speed-race motorcycles through breathtaking scenery and they make passionate, sensual love.
If you like things spelled out for you and wrapped up with a bow this is not the film for you. Much of what happens, happens off-screen. Characters don't talk about their feelings or reveal much through dialogue and the ending is cryptic. But pay attention: It's the visuals and motion and actions that reveal everything.
And about that ending--there is some actual "telling" rather than showing in the end (don't worry, it's not a spoiler) and it's so emblematic of the film I'll cite it here. As we see two motorcycles disappear into the gray mist on a twisting, turning German autobahn, Donato, in a voice-over, addresses his brother, the one he'd abandoned eight years earlier when he left Brazil for Germany.
"There are two types of fear and courage, Speed. I act as if there is no danger. But you know that everything is dangerous in this endless sea."
"Praia do Futuro" invites you to take a swim, take a risk, try your luck. It doesn't promise a happy ending, but it doesn't preclude one, either.
Simply put, "A movie is a story that's told with pictures. Pictures that move." Every line, every shot, every scene, every setting, every prop, should be informed by this.
Few films exemplify this as well as Karim Aïnouz' "Praia do Futuro." Ainouz has said, "For me film is time, space, and sound distilled in a moving image."
It's also, you can see clearly from this film, about bodies moving in time and space and within architecture.
(There's one memorable scene of muscular lifeguards training on the beach and then running into the sea that's right out of poet Walt Whitman's "I Sing the Body Electric.")
Every shot, every scene in this spare, visual style of storytelling is a work of art, which shouldn't be surprising as Ainouz came to film making in a roundabout way, leaving Fortaleza, Brazil (where the opening of "Praia do Futuro" is set) to study architecture in Brazil's futuristic capital, Brasilia. He then studied fine art in New York, took up painting and photography, only to finally study film in graduate school at NYU. He sees himself primarily as a visual artist.
This is a film about fear and courage, about risking it all. It's also about displacement and freedom. But, unlike Hollywood films, it never spells anything out. These ideas are dealt with elliptically and obliquely and usually through movement and visuals rather than through dialogue. The protagonists move through water and dance and speed-race motorcycles through breathtaking scenery and they make passionate, sensual love.
If you like things spelled out for you and wrapped up with a bow this is not the film for you. Much of what happens, happens off-screen. Characters don't talk about their feelings or reveal much through dialogue and the ending is cryptic. But pay attention: It's the visuals and motion and actions that reveal everything.
And about that ending--there is some actual "telling" rather than showing in the end (don't worry, it's not a spoiler) and it's so emblematic of the film I'll cite it here. As we see two motorcycles disappear into the gray mist on a twisting, turning German autobahn, Donato, in a voice-over, addresses his brother, the one he'd abandoned eight years earlier when he left Brazil for Germany.
"There are two types of fear and courage, Speed. I act as if there is no danger. But you know that everything is dangerous in this endless sea."
"Praia do Futuro" invites you to take a swim, take a risk, try your luck. It doesn't promise a happy ending, but it doesn't preclude one, either.
Rather introspective, this Brazilian/German film, with little plot and a lot of propositions easy to follow, but maybe not that easy to understand. The story centers on a safeguard attracted to a man he saves. They soon go for sex, softly depicted in the movie. Next they go to Germany, in a process of inner evolution for the Brazilian lead that may be difficult for the appetite of American audiences, little is spoken. A Brazilian like me does understand it better, for it's a dilemma most common for a man divided between its original family and a life he thinks ought to be better. The principals are the continuum of the film, both handsome, specially the well-built safeguard. It was already discussed that the word 'love' is not part of the plot. Not a single time it is mentioned they could experiment this sentiment to one another, and one will really have to speculate on which were the inner movements that made the Brazilian immigrate. Not an easy film, but I think it worth the effort. A trivia: in Brazil, where Wagner Moura is well known and the film went to commercial circuit, the sex scenes were a scandal. So much so that audiences where advertised in the tickets about the subject.
This is one of those films that- when you read the story synopsis- sounds like it will be utter sentimental tripe, lousy with cliché-ridden dialog.
This film is anything but.
This is one of the best gay male-themed films I've seen in a long time. I'd put it right up there with Weekend in quality, but the two films couldn't be more different. Weekend is dialog-driven, Futuro Beach is not. There are long spans where nobody says much of anything; you just observe.
In the beginning, the story doesn't seem like it of holds a lot of promise.
But just wait. When this film shifts gears, it really shifts gears. It's impossible to predict where it's going next, always a sure sign of a good movie, IMO.
While the dialog is sparse and unsentimental, there is emotion all around. The men may be terse with each other, but they're expressive. We don't know if they're in love. That's how unsentimental this movie is. The words "I love you" are never going to be spoken in this modern relationship. What we do know is that there is a dynamic between them that neither wants to abandon.
The themes of this movie are big: life (truly living) and death (just existing). So you might be tempted to assign life-message metaphors to the locale and action. Don't. Just let the film wash over you. This is one of those rare movies that immerses you in its own universe, and by doing so, gives you some insight into your own.
This film is anything but.
This is one of the best gay male-themed films I've seen in a long time. I'd put it right up there with Weekend in quality, but the two films couldn't be more different. Weekend is dialog-driven, Futuro Beach is not. There are long spans where nobody says much of anything; you just observe.
In the beginning, the story doesn't seem like it of holds a lot of promise.
But just wait. When this film shifts gears, it really shifts gears. It's impossible to predict where it's going next, always a sure sign of a good movie, IMO.
While the dialog is sparse and unsentimental, there is emotion all around. The men may be terse with each other, but they're expressive. We don't know if they're in love. That's how unsentimental this movie is. The words "I love you" are never going to be spoken in this modern relationship. What we do know is that there is a dynamic between them that neither wants to abandon.
The themes of this movie are big: life (truly living) and death (just existing). So you might be tempted to assign life-message metaphors to the locale and action. Don't. Just let the film wash over you. This is one of those rare movies that immerses you in its own universe, and by doing so, gives you some insight into your own.
Lo sapevi?
- QuizAccording to Clemens Schick, he and Wagner Moura did not get along when they first met, but became close friends after filming their scenes.
- BlooperWhen Konrad drives around on a KTM in Germany, the motor noise you hear is clearly from a 4-in-a-row cylinders engine. But KTM only manufactures 1 and 2 cylinders motors that would never sound like this.
- Versioni alternativeThe first love scene in the film's Part II section (containing footage of oral sex being performed) was cut in the theatrical/home video release.
- Colonne sonoreHeroes
Written by David Bowie and Brian Eno
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- Siti ufficiali
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- Futuro Beach
- Luoghi delle riprese
- Aziende produttrici
- Vedi altri crediti dell’azienda su IMDbPro
Botteghino
- Budget
- 4.000.000 USD (previsto)
- Lordo Stati Uniti e Canada
- 20.262 USD
- Fine settimana di apertura Stati Uniti e Canada
- 3324 USD
- 1 mar 2015
- Lordo in tutto il mondo
- 779.835 USD
- Tempo di esecuzione1 ora 46 minuti
- Colore
- Proporzioni
- 2.35 : 1
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