3/30/20 - Bacurau (2019) - 7/10

A unique, somewhat surreal uncategorizable phenomenon. It isn’t extraordinarily odd, just an uncommon mix of humor, sexuality, identity and the offbeat surrounding this social horror show/play. Whatever it is is quite good, marrying singular cultural perspectives, hot pokers of social jabs, varied & lush cinematic viridity, and a fresh tonal samba.

Politics is certainly at the forefront here, fighting social malfeasance. Raping of South America by the “superior” whites is not subtle. Neither is the keen vision of the poor’s mistreatment, intertwining politically driven lawlessness, the hoarding of goods & services, and prostitution; all affecting the poorest the greatest and slowly loading the same gentrified class murdering gun as the more blatant ethno-slaughterers. 

This film often feels quiet, but its boldness speaks volumes. There is plenty of nudity on display, but it feels natural, lived in, and without shame. Almost a shunning of Puritanical nonsense and simply showing life. And, as life is shown, so much death is on display as well. There are so many isolated and mourned deaths throughout the movie.So rare from films with so much killing, as there is often a numbness to the death that quickly sets in and a quick move to the next deathly set-piece. Not so much here. There is also no shying away from the glee of the murders or the horrific nature of those acts. They are gratuitous and unsettling. They are felt. These are the symbols of a true voice and purpose, which I thoroughly welcomed.

It lays itself bare with its odd Western aspects, citing/nodding to Leone and Peckinpah references. You could probably toss in some Carpenter there for good measure. This is signaled by the music as well; a mix of 80s synth, dramatic classical, Western orchestral, and Brazilian guitar. It is a genre jamboree. It is out there and in here. It gives nothing easily, but it’s flavor is right there for the taking and it tastes yummy.