A good deal more restrained and nuanced than The Craft and Carrie, Raquel 1:1 takes itself perhaps a little too seriously, presenting a rather straightforward tale of a repressed young woman living in a small town where everything is simple if you have faith. Starting over with her dad Hermes (Emilio de Mello), Raquel (Valentina Herszage) moves across Brazil to an old family home. Once there, Raquel—who considers herself religious even if she doesn’t regularly practice—encounters Laura (Eduarda Samara) and Ana (Priscila Bittencourt), who invite her to be part of the local church. Ana’s mother Elisa (Lianna Matheus) is the local pastor who gives daily, fiery sermons as Ana leads the youth outreach and group activities.
While spying on Laura and Ana swimming, Raquel finds herself drawn to a brick shack in the middle of the woods which becomes central to the story’s supernatural elements...
While spying on Laura and Ana swimming, Raquel finds herself drawn to a brick shack in the middle of the woods which becomes central to the story’s supernatural elements...
- 3/30/2022
- by John Fink
- The Film Stage
In Raquel 1:1, Valentina Herszage stars as Raquel, a teenager in Brazil who moves to a small town with her father after a haunting tragedy. Her religiousness leads her to becomes close with a group of girls from the evangelical church, though her profound faith and unexplained experiences quickly transforms her into an extremely divisive […]
The post 2022 SXSW Film Festival Interview: Director Mariana Bastos and Star Valentina Herszage on ‘Raquel 1:1’ (Exclusive) appeared first on Shockya.com.
The post 2022 SXSW Film Festival Interview: Director Mariana Bastos and Star Valentina Herszage on ‘Raquel 1:1’ (Exclusive) appeared first on Shockya.com.
- 3/20/2022
- by Abe Friedtanzer
- ShockYa
Religious fanaticism, parental trauma, and misogyny from within and without are all up for dissection in director Mariana Bastos’s fascinating genre-tinged drama, Raquel 1:1. The only Brazilian feature in the SXSW lineup, Raquel 1:1 is a fascinating look at one young girl’s struggle to find her way in a rural town overwhelmed by religious orthodoxy. Simple inquiries turn her into a pariah and change the entire dynamic of the town around her, but is it for the better? For the first time in a while, Raquel (Valentina Herszage) is living with her father Hermes (Emílio de Mello) following the tragic, violent loss of her mother. Struggling to find a way to put it behind them, Hermes moves them back to his hometown, a rural religious...
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[Read the whole post on screenanarchy.com...]...
- 3/18/2022
- Screen Anarchy
Being a teenager is difficult enough when there isn’t a serial killer on the loose. Not making things easier in “Kill Me Please” is the fact that, for 15-year-old Bia (Valentina Herszage), the recent string of murders is perversely fascinating — the kind of thing she’d post on Facebook or like on Instagram, not least because one of the victims bears a striking resemblance to her.
Read More:‘Tulip Fever’ Review: This Bizarre, Long-Delayed Historical Romance Was Not Worth the Wait
A kind of “Virgin Homicides,” Anita Rocha da Silveira’s debut feature takes place in a well-to-do Rio de Janeiro struggling to understand the violence that’s invaded its neighborhood. Bia and her three besties talk about boys, parties, and the ghost that may or may not haunt their school — all of it ubiquitous yet unknowable. Bia’s conception of such adolescent milestones has been so filtered through...
Read More:‘Tulip Fever’ Review: This Bizarre, Long-Delayed Historical Romance Was Not Worth the Wait
A kind of “Virgin Homicides,” Anita Rocha da Silveira’s debut feature takes place in a well-to-do Rio de Janeiro struggling to understand the violence that’s invaded its neighborhood. Bia and her three besties talk about boys, parties, and the ghost that may or may not haunt their school — all of it ubiquitous yet unknowable. Bia’s conception of such adolescent milestones has been so filtered through...
- 9/1/2017
- by Michael Nordine
- Indiewire
"Remember what the pastor said: 'Blood is life.'" Cinema Slate has revealed an official Us trailer for an indie horror film from Brazil titled Kill Me Please (also just Mate-me por favor in Portuguese). The film is about a group of high school girls who waste their days wandering through the neighbor of Barra da Tijuca in Rio de Janeiro. When a series of murders begins to "terrorize the neighborhood" they develop a morbid curiosity with the victims, leading them to some dangerous places. Starring Valentina Herszage, Júlia Roliz, Mariana Oliveira, and Dora Freind as the four leading ladies. Kill Me Please is "partly inspired by the 1980s teen slasher genre" and is described as a "disturbing and funny dive into teenage sexuality, spirituality, loneliness and fragility." This actually looks damn good, I'm looking forward to checking it out. Here's the official trailer (+ posters) for Anita Rocha da Silveira's Kill Me Please,...
- 8/22/2017
- by Alex Billington
- firstshowing.net
After stopping by festivals such as SXSW, Venice, and New Directors/New Films, Anita Rocha da Silveira’s Kill Me Please will finally be hitting U.S. theaters next month. The Brazilian coming-of-age meets slow-burning horror film follows a group of high school girls who start to become obsessed with the victims of recent murders in their area. Ahead of a release, a new trailer has now landed.
“With its inky, stalking sense of darkness and warped surrealism, David Lynch’s Mulholland Dr. is an obvious touchstone for Silveira’s sensibility, but her visual milieu feels just as evocative of disparate directors such as Carlos Reygadas, Céline Sciamma, and Harmony Korine,” we said in our review. “Her camerawork doesn’t so much follow as glide, and Silveira isn’t shy about starbursts of color (e.g. a refracting neon purple prism from a headlight). The sequences are carefully composed but not immune to playful tricks,...
“With its inky, stalking sense of darkness and warped surrealism, David Lynch’s Mulholland Dr. is an obvious touchstone for Silveira’s sensibility, but her visual milieu feels just as evocative of disparate directors such as Carlos Reygadas, Céline Sciamma, and Harmony Korine,” we said in our review. “Her camerawork doesn’t so much follow as glide, and Silveira isn’t shy about starbursts of color (e.g. a refracting neon purple prism from a headlight). The sequences are carefully composed but not immune to playful tricks,...
- 8/21/2017
- by Jordan Raup
- The Film Stage
Following in a wave of cerebral psychological horror films such as The Witch, It Follows, and The Babadook, Anita Rocha da Silveira’s debut Kill Me Please is the latest art-horror film that’s concerned with the internal repercussions of trauma. But unlike that series of films, Kill Me Please may be more effectively identified as a film about the end of the world.
Set in Rio de Janeiro’s paranoia-soaked Barra de Tijuca, it follows a series of tight-knit high-school girls against the backdrop of a series of young women’s murders. The murdered women are mostly anonymous, but their deaths loom over these girls like present-day, sexually charged ghost stories. These women all worry that each day will be their last, unable to stop a perpetual personal apocalypse.
And while this premise has the possibility to feel gratuitous, it remains grounded thanks to a perspective that always places the girls’ lives first.
Set in Rio de Janeiro’s paranoia-soaked Barra de Tijuca, it follows a series of tight-knit high-school girls against the backdrop of a series of young women’s murders. The murdered women are mostly anonymous, but their deaths loom over these girls like present-day, sexually charged ghost stories. These women all worry that each day will be their last, unable to stop a perpetual personal apocalypse.
And while this premise has the possibility to feel gratuitous, it remains grounded thanks to a perspective that always places the girls’ lives first.
- 3/26/2016
- by Michael Snydel
- The Film Stage
BehemothAs more prominent film festivals gear up for spring, a smaller though by no means slighter affair begins in New York. New Directors/New Films, curated by Museum of the Modern Art and Film Society of Lincoln Center, unfurls its carefully considered program of 27 features and 10 shorts, with its premise and draw on emerging voices in cinema. Indeed, the festival may very well be a last stop for filmmakers on the rise before they are introduced to wider audiences. Nd/Nf has brought us in the recent past Fort Buchanan and Diary of a Teenage Girl, and longer ago films by Hou Hsiao-Hsien and Chantal Akerman. Most of this year’s selection has premiered at festivals, many have been covered by this very site, and all are compelling. Here are several highlights.***With a narrative rooted loosely on Dante’s Divine Comedy, Zhao Liang’s documentary Behemoth depicts the...
- 3/17/2016
- by Elissa Suh
- MUBI
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
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