Picking up a old issue of UK film magazine Empire a while ago,I read Kim Newman's Video Dungeon column and was taken by his praise for a Brazilian Horror title, which I got lucky in finding for a good price on eBay. Considering watching the film in the run-up to Halloween, the unexpected announcement on ICM that along with the usual Horror Challenge, a Latin America/ Caribbean Challenge would be taking place as well! This led to me sharing our evil.
View on the film:
Backed by a nerve tugging Industrial grind blended with circus howl (!) score from composers Guilherme Garbato and Gustavo Garbato, debut writer/editor/director Samuel Galli & debut cinematographer Victor Molin make a mesmerising ring act. Crossing wires with each other on the "Dark Web", Galli (whose sister Gabriela was set designer) plugs Arthur and Charles first encounter with a moody Thriller atmosphere, struck by upward camera angles on Arthur creating the impression of a hard man, and the sterile, clean slate appearance of Charles making him a loner who kills anyone that even tries to get under his skin.
Glimpsing at Charles not only being a Dark Web professional hitman, but also a rather keen amateur serial killer, Galli slices into the Torture Horror of the early 2000's, but instead of going for the jugular, brilliantly carves a more cerebral image, subtly linking Charles acts with the underlying hate Arthur has for them,which he must keep hidden from Charles. Swimming to a long flashback into Arthur's early life, Galli loops stylised turns into surrealist Horror, lit in dream-logic pristine whites on Arthur becoming enlightened to the gift he has, which pops from a great designed demon monster clawing with a excellent sharp jolt from Charles performing his job.
Coiled round the superb unsettling calm Ademir Esteves gives Arthur and the razor-edge anger Ricardo Casella's holds Charles on, the screenplay by Galli brilliantly uses their vastly different personalities to criss-cross different styles of Horror, via the short,sharp,shocks delivered by the blunt Charles hitting the visceral rush, whilst the quiet, contemplating Arthur seeps the spiritual light he holds into the battle of defeating our evil.
View on the film:
Backed by a nerve tugging Industrial grind blended with circus howl (!) score from composers Guilherme Garbato and Gustavo Garbato, debut writer/editor/director Samuel Galli & debut cinematographer Victor Molin make a mesmerising ring act. Crossing wires with each other on the "Dark Web", Galli (whose sister Gabriela was set designer) plugs Arthur and Charles first encounter with a moody Thriller atmosphere, struck by upward camera angles on Arthur creating the impression of a hard man, and the sterile, clean slate appearance of Charles making him a loner who kills anyone that even tries to get under his skin.
Glimpsing at Charles not only being a Dark Web professional hitman, but also a rather keen amateur serial killer, Galli slices into the Torture Horror of the early 2000's, but instead of going for the jugular, brilliantly carves a more cerebral image, subtly linking Charles acts with the underlying hate Arthur has for them,which he must keep hidden from Charles. Swimming to a long flashback into Arthur's early life, Galli loops stylised turns into surrealist Horror, lit in dream-logic pristine whites on Arthur becoming enlightened to the gift he has, which pops from a great designed demon monster clawing with a excellent sharp jolt from Charles performing his job.
Coiled round the superb unsettling calm Ademir Esteves gives Arthur and the razor-edge anger Ricardo Casella's holds Charles on, the screenplay by Galli brilliantly uses their vastly different personalities to criss-cross different styles of Horror, via the short,sharp,shocks delivered by the blunt Charles hitting the visceral rush, whilst the quiet, contemplating Arthur seeps the spiritual light he holds into the battle of defeating our evil.