Film Review: ‘Praia Formosa’ dir. Julia De Simone
Rating: ★★★★☆
Julia De Simone’s film “Praia Formosa,” premiered in the Tiger Competition section of the 53rd International Film Festival Rotterdam (IFFR), presents a postmodern take with a brilliant concept, well-thought-out screenplay, and outstanding scene design, costumes, and cinematography that offer a fresh perspective on themes such as identity, connection to one’s roots, bondage, and freedom. In this brief critique, I’ll delve into my thoughts on the film.
From the outset, the film delves into the core of its narrative. It showcases contemporary Rio de Janeiro, portraying a city undergoing reconstruction, reforms, and excavation. Scenes of excavation and the upheaval of soil serve as symbolic representations of unearthing what is hidden and buried. It brings forth a past concealed beneath the “now,” akin to the excavation of buried history. Perhaps, this serves as an opportunity for us to cast a more discerning eye on what lies beneath and attempt to, like the city’s reforms and reconstruction, refine and reconstruct our perspectives.
The narrative unfolds with an explosion in the port, creating a sense that the past and present are colliding and influencing each other in this burst of energy.
Muanza, a woman born in the Kingdom of Kongo and trafficked to Brazil in the 19th century, awakens in contemporary Rio de Janeiro, where figures from the past and present intertwine in her search for roots across the city. The film paints a portrait of experiences and struggles that forge community and sisterhood.
The film can be viewed as a personal expression within the domain of auteur cinema, exploring themes of identity, homeland, and identity roots. Our identity doesn’t take shape in the present or the future; it is shaped in the past. To discover our identity, we must traverse the bridge of the past.
Time fractures, and Muanza wakes up in a house that a Portuguese owner had bought her in the 19th century, enslaving her. The mysterious house, with its numerous entrances, can lead us to different realms of the past and history. It becomes Muanza’s prison, where she must find a way to free herself and connect with her roots and identity.
The discourse on soil and finding roots is symbolically powerful in the film. When we dig into the soil and seek our roots, we realize that the roots may be tainted (lacking authenticity) or still alive in the soil, ready to blossom.
The film blurs the line between documentary and narrative, providing a modern platform for its story. With a deliberately slow pace (indicative of being stuck in a historical moment, time not passing swiftly when seeking oneself and one’s identity), a well-thought-out screenplay, excellent scene and costume design, lighting, and cinematography, the film presents a defensible piece to the audience.
