A Hora da Estrela

If you are in a bad mood or unquiet, don't try this one. There are several moments that you will think Macabea lives in a hell, and that she is too stupid to get out. But the movie is made to be analysed, and if you keep watching, you will fell it. Her relationship with Olimpico, and the antagonism of personalities, the perspective of Macabea about her life, opportunities and the future. Everything has a reason to be shown, every single word has a meaning. The movie was based on Clarice Lispector's best-seller "A Hora da Estrela" (The Star Time).

This film was an excellent metaphor for the depravation so many northern Brazillians experience when they imigrate to the coast in search of work, love, opportunity, and excitement.

Macabea, the protagonist of the film, is an immigrant orphan from northern Brazil who comes to the city in search of economic prosperity. She lacks the education to find a descent job, the social skills to have friends or a boyfriend, and the etiquette in order to fit in in normal life.

She is portrayed as ugly, filthy, and disgusting. She lacks an understanding of proper hygiene, as shown several times throughout the movie when she does not wash her hands and, as a result, covers the papers she types in dirt and in a scene where she eats while urinating on a pot in the middle of the night.

She is a symbol of the depravation of so many northern and northeastern immigrants in Brazil.

The film is full of cleverly constructed imagery and symbolism. Depressing and sad, but genius.

If you've ever read Lispector's text, Amaral's film is a must-see. You may be wondering how Amaral could possibly manage to capture Lispector's musings on the act of writing or questions regarding representation as they are presented through her narrator, Rodrigo. Pay close attention, and you'll find your answer. Although Rodrigo is absent from the film, he is symbolically present via Amaral's juxtaposition of Macabea's humble life, and the reality that is presented to her within an industrialized society. I personally believe that this is not a representation of the original text, but an appropriation of certain underlying themes within it. As you will see, Amaral manages to give us her own perspective and cultural critique of representation via the artistic medium of which she is a part. In this sense, the film stands alone, independent of the novella, with a few strong threads tying the two together. For anyone who is interested in the question of representation within the cultural industry, commodity fetishism, capitalism, feminism, etc., you need to watch this film, and then you need to watch it again.

A depressing and well done film, very introspective, immersive, and psychological. Marcelia Cartaxo's work is quite impressive and she did deserve all the acknowledgement and prizes. Great José Dumont, Fernanda Montenegro as the fortuneteller, and Tamara Taxman also go very well in their supporting roles. Deceased in this very year 2020, Suzana Amaral might have directed more movies! Spectator does feel discomfort for the depreciated existance of the character Macabea. Therefore, the movie is very good and it is a skilful adaptation of a hard novel to transport to the screen. The single problem to be highlighted is not producers' fault, as it derives from the source: there is a disturbing prejudice by writer Clarice Lispector herself towards poor people who migrates from Northeast to São Paulo. It appears sharply in both narrow-minded ignorant macho sexism by Dumont's character Olímpico and, mainly, in Macabea's foolness and absolute lack of fitness, attractiveness, aspirations and even hygiene. It is not only an existentialist movie, but also a film about Brazilian culture, and that from the lens of a talented but also elitist novelist.

Unfortunately this is just good photography and decent acting. Nothing else you can see here... The dialogues are dull and the story takes you into a jorney to nowhere. It's just a waste of time.