Property

Weak script, bad acting, Almost everyone in this piece of film acts like lunatic, completely unrealistic scenario nothing in this film works frankly...waste of time. Take your dog and go outside, much better idea. Even the genre is uncertain, not comedy, not a horror, certainly not a thriller, it's a mixture of everything and anything really, but in very bad taste. The only reason for two stars I just gave is scenery, which reminds me a bit of Colombian palm tree landscape, but this is certainly not enough to good score.

I value a lot the Latin cinematography a lot, You can find something fantastic from Mexico, Argentina or even from Brazil, but you can skip this one definitely.

Propriedade is a brazilian movie that works mostly in a small scenario - a farm house and entrance. In the story we have two visions of the same story, in these visions you can understand why the characters act in such way. The battle between peasents and farmers tries to expose a long battle what occurs in Brazil, associated with slavery as shown in the movie. Old families that retains lands for centuries, exploiting workers.

This good ideia unfortunately doesn't follow a good direction or photography, that seems to emulate horror movies in some parts. The characteres are poorly worked. We know that the main character has a trauma and the movie works around this, but unfortunately instead of building the tension of being locked, her experience takes less place than the farm workers. This would not be a problem if they were good represented, but what we see is a bunch of clichés, we have too much people in the story. The conflict exist and their story too, but the way of telling this can't be effective if the movie has to run with its time. And also can't be helped by a poor photography, without a construction of the feeling of desperation, anxiety, that the story should have.

Directed by Daniel Bandeira, Property is a gripping social thriller that delves into Brazil's class struggle, exposing the stark divide between privilege and desperation. The story follows Tereza (Malu Galli), a traumatized fashion designer seeking refuge in her family's estate, only to find herself trapped inside her armored car during a workers' revolt.

The screenplay masterfully builds tension, avoiding simplistic portrayals of good versus evil. Instead, it presents a nuanced exploration of power, fear, and social detachment. Malu Galli delivers a restrained yet intense performance, embodying the suffocating anxiety of a woman caught between her past trauma and the present chaos. Zuleika Ferreira and Tavinho Teixeira bring depth to the workers, portraying their rage and humanity with equal force.

Pedro Sotero's cinematography plays a crucial role in amplifying the film's themes. Claustrophobic framing reinforces Tereza's isolation, while expansive shots highlight the vastness of the estate and the inequality it represents. The film thrives on dualities-security versus vulnerability, wealth versus exclusion-creating a visually striking and thought-provoking experience.

More than just a thriller, Property serves as a chilling reflection on a society teetering on the edge of collapse. With its raw storytelling and unflinching social commentary, it stands as one of the most compelling portrayals of inequality in recent Brazilian cinema.