More often than not, the first thing a given critic discusses when diving into a film (besides its narrative) is the work of the director. And in many cases that’s more than justified. Especially when that director is a superb craftsman like Gabriel Mascaro. However, for the director’s latest film, one of its greatest stars isn’t in front of the screen or directing the action, instead he’s a beloved photographer lensing what may very well be one of the year’s most profoundly beautiful motion pictures.
Entitled Neon Bull Mascaro taps Diego Garcia to shoot his story of gender roles within the world of Brazilian rodeo, the vaquejada, a sport where cowboys try to rope bulls by their tails only to drag them violently to the ground. Focusing on a handsome, strong cowboy named Iremar who daydreams of becoming a fashion designer, the film spends the...
Entitled Neon Bull Mascaro taps Diego Garcia to shoot his story of gender roles within the world of Brazilian rodeo, the vaquejada, a sport where cowboys try to rope bulls by their tails only to drag them violently to the ground. Focusing on a handsome, strong cowboy named Iremar who daydreams of becoming a fashion designer, the film spends the...
- 4/8/2016
- by Joshua Brunsting
- CriterionCast
The sensorial cinema of Gabriel Mascaro, who turned the life of a group of cowhands into a poetic experience in Neon Bull (Boi Neon), was the big winner at the 17th edition of Rio de Janeiro’s International Film Festival.
The allegory of the recent economic transformations in Brazil received four Redentor awards on Tuesday night: best film, best screenplay, best cinematography and best supporting actress for Alyne Santana.
Previously the film screened in Venice, where it won the Orizzonti special jury prize, and Toronto.
The best director prize was shared between Ives Rosenfeld’s Hopefuls (Aspirantes), a journey of a young amateur football player, and Anita Rocha da Silveira’s Kill Me Please (Mate-Me Por Favor), a teen horror film set at a school in Barra de Tijuca. Both works are first features.
The jury headed by the director and cinematographer Walter Carvalho also celebrated Hopefuls with a best actor prize for Ariclenes Barroso and a...
The allegory of the recent economic transformations in Brazil received four Redentor awards on Tuesday night: best film, best screenplay, best cinematography and best supporting actress for Alyne Santana.
Previously the film screened in Venice, where it won the Orizzonti special jury prize, and Toronto.
The best director prize was shared between Ives Rosenfeld’s Hopefuls (Aspirantes), a journey of a young amateur football player, and Anita Rocha da Silveira’s Kill Me Please (Mate-Me Por Favor), a teen horror film set at a school in Barra de Tijuca. Both works are first features.
The jury headed by the director and cinematographer Walter Carvalho also celebrated Hopefuls with a best actor prize for Ariclenes Barroso and a...
- 10/13/2015
- by elaineguerini@terra.com.br (Elaine Guerini)
- ScreenDaily
IMDb.com, Inc. takes no responsibility for the content or accuracy of the above news articles, Tweets, or blog posts. This content is published for the entertainment of our users only. The news articles, Tweets, and blog posts do not represent IMDb's opinions nor can we guarantee that the reporting therein is completely factual. Please visit the source responsible for the item in question to report any concerns you may have regarding content or accuracy.