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"La Tarea: The Homework or How Pornography Saved a Split Family from Boredom and Improved their Finances"

Is pornography but a lewd display for the voyeur artless whose only anticipation is from extreme close-ups of tension swollen money shots? What started as a bizarre nauseating camera angle was soon obscured by the phenomena; sensory adaptation - that states we are less sensitive to repeated presentation of certain stimuli. In this case the practically seamless single camera angle exploring contemporary societal norms on sex, pornography and the role men and women play, during the time of this film, was eaten up enthusiastically with minimal shock and anticipatory awe.

I don't know if director Jaimi Humberto Hemosillo's intention, with the odd and constant camera angle, was inferred to symbolize mans ability to constantly evolve and accustom itself; but "La Tarea" personified the subjectivity of pornography and the voyeur in that the line between what is decent and acceptable gets blurred through personal experience and societal sensory adaptation. And the idea of what is art could be construed as anything thought provoking as a result of critical thinking.

To switch from an unaware participant, to the fumbling amateur actor, we see man on the offense and defense of his/her perceived role in society. Be it someone respectable, held in their own high esteem; or the insecure charlatan unsure of his /her role. As we saw by Alonso's astonishment and possible simulated anger at the fear of being found out of his subconscious thoughts and desires. Because of voyeurism there is, of course, the accomplice fueling the flames of an exploration into wonders already discovered yet waiting for acceptance

Amazing, controversial, and painful are some essential adjectives to allocate this important piece of art, that depicts the searing and factual adolescence of the marginalized children; i.e. victims of our global village.

Pixote prepubescent, with the unflinching stare of the innocent-all-knowing, left an impression of raw truth in finding credence to the old African saying, "It takes a village to raise a child". The awful reality, though, that director Hector Babenco visualized is that Brazil, with it's confusing, twisted, and socio-economic disparity, is the cause of this robbed innocence. In desperation, we see these children in search of nurturing and love, but only permitted leftovers of what society has tossed aside. Institutionalized rape, prostitution, drug dealing, and murder are the only voice they have in order to be nurtured, be loved, and have power. The only thing that Brazil has to offer these lost children are predators; repeating the cycle of hopelessness. Brazil, as a nation is an unworthy parent.

In retrospect, I believe the film "Pixote" is a parable on the world governments turning a blind eye to the hunger pains of the destitute and impoverished victims of an ever-expanding economy; and the force of irresponsible globalization is leaving blood soaked tear trails of destruction through the interconnected avenues of the world. We see through the symbolism of a child that the inequality or disparity in society has a snowball effect causing cannibalism within ourselves.

it is amazing the ability of director Water Salles to play at the heartstrings with such painful eloquence; fluid in a sense that the ubiquitous issues explored within the context of the film "Central Do Brazil" or "Central Station" were secondary to the road trip of two lives intersecting at a train station; a place where people come and go on their own subjective way.

to be honest I couldn't tell if Walter Salles view on religion were pro or con; even after the continues repetition of religious symbols. At first it appeared to be in the positive based on the premise that images of piousness, self-sacrifice, or charity were themes played throughout the film in association with religion. It appeared that Salles was making a connection that man is on a quest for enlightenment through the interconnectedness of different modes of transportation that bring humanity as one; be it a pilgrimage of Christians; or two unlikely partners on a bus, train or truck, in search of unanswered questions. The recurrent images seemed to try to make a link of these two examples.

dora seemed to be the only heathen in this quest, which in retrospect seems to be Salles possible speaker for the truth. From spectator feelings of ambivalence to hatred, and coming full circle to being the hero of the story, we see acts of courage in Dora's transformation from the poster boy of everything ugly in Brazil, to the embodiment of true altruism. She is the "clarity" in a convoluted Brazil - or humanity - who is left on its own without the so-called benefits and safety of civil society or an absolute dogma.

in Central Station, we are like flocks of migrating birds together for safety from an indeterminate existence; in search of intangibles be it love, god, or an answer for mass suffering. It is not mans fault that he is drawn to mysticism to heal the wounds of poverty but it is the fault of society and the unequal distribution of wealth that leaves the majority scraping for leftovers.