Cabezas cortadas

Cinema novo entered a new stage in the late 1960s, in which episodic and exalted satire, infused and intentionally tinted, transitions into the heights of silent visual allegory, thus merging the Brazilian underground with European contemporary hyper art. Pierre Clémenti wanders through the film as if wandering through a film by Philippe Garrel of that time or Pasolini's but moreover as if he simultaneously sank into the Brazilian underground film of that time - cinema marginal - with its unrestrained anti-logical assault primarily of verbal irony. The long visual parable shakes hands with the episodic nature of self-undermining discourse. It is so brilliantly disjunctive and at the same time synthetic that the result can only come from a great filmmaker, who in this case didn't forget about the political dimension of his work, making the film perfectly Latin American. Venceremos! (20.02.2019)