"On the land without bread, the poor are born poor, rich are rich"
Evidence for fighting between classes Anger We are mostly referring to Manuel da Fonseca's device and his novel Seara de Vento (published in 1958) to raise people's awareness of their deepest political aspirations.
This new fiction by Sérgio Tréfaut, the second feature film of this language since Journey to Portugal (2011) is an object that is funny and subtly absorbed in its historic redevelopment, either at a scenic or even atmospheric level (thanks to the beautiful photograph of veteran Acacio de Almeida). In this adaptation, the director chooses raw materials, neo-realism in the 1950s, and literature, theater, and even kinenes (the failure of director Manuel Guimaraes who seems to be unable to overestimate himself if and as such Anger is purely symbolic and probably depends on the same symbolism that forms it as an essay of ideas, the "message" that Tréfaut himself discovered was not interested in propaganda or didactic attention.
It is an image cinema (a term that, at this point, makes the reader ridicule the writer due to the obvious characteristics) because they are exempt from cinematic drama or dictated by the same thing that highlights all the narration wines inside and outside the film. Tréfaut distorts his creation by emphasizing this disbelief and the lack of epiphany, making it unnecessary for this country. How do you do that? A simple maneuver transforming the academic laws from three narratives, a narrative opportunity that is in contradiction to the so-called telling that the creators and writers of national films are trying to impose. On the other hand, this choice completely destroys all the emotions that may occur on the viewer's side, at the same time as it is irreversible fatalism.
In Anger, is the mirror of a society that is completely denied today, the historic revisionism of Salazarist's feats or the urgently distorted class struggle to engage in the fight against modern builders. Tréfaut makes this political statement without using the most seriously politicized readings, and each of them considers his conscience the way he wants.
But in this portrait, in the sketches of Alentejo's craze, Anger it's still a celebration of women, especially the Portuguese actress (we are moving through the generation that transcends so well our entire cinematographic heritage, Isabel Ruth, Leonor Silveira, Rita Cabaço, Lia Gama and Catarina Wallenstein). The feminine mark appears as judgments, either ending or motifs about our "hero" controversial rails, the Hugo Bent, the Alentejo, and the Alentejo poster (Tréfaut documentary identity) to the fictional lights, inspiring the shadow of an accurate actor and, most importantly, of our professional field.
In Anger There is a lot to look at, thinking about it, it's a discrete piece and it wins with the same freedom of action. Although it has no segregated activity of hysteria, it is basically a film for our so-called conscience.