Perhaps one of the greatest compliments to be made about “Aquarius” is that it feels like a film made by a very experienced filmmaker, with at least 30 years of career, such is the mastery of cinematic language that Kleber Mendonça Filho demonstrates in this his second feature film, following the international acclaim of “O Som ao Redor.”
Right from the start, we notice that the two works, despite having much in common, such as the flirtation with the atmosphere of horror films, or the social issues that again come to the fore in a strong and poignant way, the new film, however, is a work that breathes better, with a slower pace, which may discomfort some more impatient viewers, but is necessary for us to study the character Clara, brilliantly portrayed by Sonia Braga.
Having Sonia Braga, in fact, is a great asset for “Aquarius.” The filmmaker initially thought of giving the role to a lesser-known actress, but later realized he would be ruining the opportunity to use a professional actress who could confidently carry a film centered entirely on her. In this sense, the rescue of Sonia Braga was beneficial both for the filmmaker and for her, who had been somewhat out of the spotlight and ended up gaining what may be the best role of her career.
The theme of the film is resistance. Hence the strong identification with the current political scenario, making it possible to draw some parallels with the attacks and threats that a self-assured woman receives from all sides. In this case, Clara lives in the only apartment in the building that has not been sold. She only leaves there dead, she asserts. And thus begins a series of attempts by the enemy to try to bring her down, she who has already defeated cancer.
One thing that stands out from the beginning is the appreciation – once again – of sound mixing. Now, with the use of various songs. Kleber Mendonça Filho’s DJ work is also admirable, and being able to hear so many good songs in the cinema is a privilege. Perhaps some may accuse the director of overusing songs as a way to perhaps hide some fragility in the direction, but as Clara’s apartment is filled with vinyl records and music is so important to the character, it is only natural that it appears quite strongly in the soundtrack. Only in the third act do these songs become rarer, as the tension intensifies.
The point of view is, once again, that of the middle class, of people who enjoy being able to drink good wine with family and friends, but there is, just like in “O Som ao Redor,” a feeling of guilt regarding the exploitation of the poorer, albeit in a more subtle way. What interests Mendonça Filho the most is to address human themes openly, also taking the opportunity to vent against the scoundrels who think only of money above all.
As the filmmaker shoots in various directions, each scene has its value, its importance, such as those that more explicitly address the protagonist’s sexuality. In fact, sex has become one of the taboos of the film, which initially received an 18 rating (later changed to 16), mainly due to a brief scene of group sex. However, sex appears right away in one of the first scenes, in quick and unexpected flashback images of Clara’s sixty-something aunt on her birthday.
There is still much to be said about the film, about its various qualities, such as the warm-toned photography that enhances the light of Recife, more specifically Praia de Boa Viagem, but also Clara’s apartment, the conversations of the protagonist with her children, family, and friends, the tense exchanges with her enemies, and for this reason, it is a work that invites the viewer to renew their appreciation of national cinema.
Critique by Ailton Monteiro, from the site: www.pipocamoderna.com.br