![]() ![]() But that would undermine the impassioned creativity she brings to her project, which feels deeply personal. She’s claimed Dario Argento and Brian De Palma as influences, and it would be easy to define her film as “Suspiria” by way of “Carrie,” if you ran it through a “Heathers” wringer. If all of this sounds a bit heavy-handed, rest assured da Silveira uses a deft touch to make her points. Because while these pretty women go around violently slut-shaming, their handsome boyfriends are busy beating gay men into comas. There are rumors that Melissa is at a nearby hospital, along with the victims of the Watchmen, who serve as the Treasures’ male counterparts. She’s compelled to find the group’s most famous victim, Melissa (Bruna Linzmeyer), a local actress they disfigured after she appeared nude in a movie. How ‘Medusa’ Director Unmasked Sexism in Ultra-Right Churches in Her Horror-Satire FIlm The scar on her cheek is barely noticeable, but their community values physical perfection so highly that she loses her job at a plastic surgery clinic and is pitied by friends who assume that now she’ll never find a husband. The leaders of the group are Michele (Lara Tremouroux) and her second-in-command Mari (Mari Oliveira), though the latter slips in stature once she’s maimed by a victim who fights back. The girls attend a devoutly religious college, sing as the Treasures of the Lord choir at their megachurch and, when the mood happens to strike, anonymously attack strangers who stray from their idea of feminine purity. How He would feel about their approach is never addressed - at least, not by them. And neither are her anti-heroines, a group of young Brazilian evangelicals who take their work for the Lord very seriously. The first word we hear in “Medusa” is a spat-out “slut,” and the first song is Siouxsie and the Banshees’ forever haunting “Cities in Dust.” So we know immediately that writer-director Anita Rocha da Silveira isn’t messing around. ![]()
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