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Vazante
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by Rob Gonsalves

"A nice try, anyway."
3 stars

“Why do whites love ouija boards?” asks a particularly trenchant internet meme. “If they want to learn about demons they can just go to ancestry.com.” Sharp, but not wrong.

In Vazante, the first solo-directed feature by Brazilian filmmaker Daniela Thomas, we see some demons up close. In fact, Inti Briones’ rich black and white cinematography ensures that we perceive every wrinkle, sty, nook and cranny in the faces of the oppressors and the oppressed alike. Pictorially, Vazante (translating to English roughly as “ebb tide”) is unimpeachable, and more than once I felt its images might enjoy a gainful second life in a coffee-table book. “That’s lovely,” I’d say, or “Ah, the poetry of the muddy, puddly ground underneath the bare, shivering feet of African slaves trudging towards the failing diamond mine where they work,” and the aesthetics of the slaves’ anguish outweigh, I am afraid, the politics or reality of it.

I don’t suspect or accuse Daniela Thomas of amoral motives. I simply think she fell inadvertently into a Riefenstahl-like elevation of an evocation of time and place through picture and sound, at the expense of conveying much emotion about what happened in that time and place. The similarly rigorously archaic The Witch seemed to unearth themes and modern resonances from the arid soil of its milieu (and made us feel things — sometimes deeply divided things — about its people and their actions). Vazante seems neutral, at best, about the inhumanity it shows us. The owners and drivers of slaves don’t twirl their mustaches with wretched glee, like Leonardo DiCaprio in Django Unchained or even Michael Fassbender in 12 Years a Slave. Thomas has said she wanted to avoid the sort of exploitative, eroticized sadism of many slave narratives, and yet there’s not much here to replace those tropes. We don’t really get inside anyone’s head.

Worse, the plot carries a whiff of soap opera. At the start, the initial protagonist, slaveowner Antonio (Adriano Carvalho), arrives home to find that his wife has died in childbirth, as has their child. Despondent, Antonio drifts around for a while. Then he marries his 12-year-old niece Beatriz (Luana Nastas), while dallying with (well, technically raping) his slave Feliciana (Jai Baptista). Meanwhile, Beatriz develops her own thing with Feliciana’s son Virgilio (Vinicius Dos Anjos), who may or may not be Antonio’s son out of wedlock. Antonio lying morosely in his hammock becomes an almost amusingly frequent recurring image. So do scenes of Beatriz moping around Antonio’s house. Frankly, the movie starts to seem padded out, and fetishistically devoted to its visual scheme. We’re drawn to Beatriz largely because she’s virtually the only one we see smiling ever, not that a dour countenance would be uncalled-for in this story. But it’d be nice to have some levity, some lightness, even some music (aside from sparse singing and some tones under the end credits, there is none).

Vazante plucks at some plot threads only to lose track of them. The most egregious example is Lider (Toumani Kouyaté), a rebellious slave nobody can understand because nobody speaks his language. We don’t understand him either, because unlike the Portuguese-speakers in the movie, he isn’t subtitled. His character barely makes sense — one minute Lider is saving the life of the interim master he’s just escaped from, the next minute he’s back in chains, eventually ending up insane and eating mud and meeting his fate offscreen. The disregard for Lider, easily the film’s most intriguing creation, is chillingly thorough. Vazante wants to be a visual riff on the various souls destroyed by slavery, but it also can’t help shaking out as a study of a white man’s agony at being betrayed by everyone.

There are memes about white people tears, too, though the movie’s final scream of horror might actually be funnier than any of them.

link directly to this review at http://www.efilmcritic.com/review.php?movie=31780&reviewer=416
originally posted: 04/19/18 09:37:20
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USA
  12-Jan-2018

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Australia
  12-Jan-2018




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