Madame Sata

Karim Aïnouz gained attention with his feature debut Madame Sata at the Cannes Film Festival earlier this year; the film being yet another powerful example of the up and coming Brazilian film. The story is about an authentic person, a man who lived in the slum of Sao Paulo, a world consisting of prostitution, crime and murder. In Madame Sata, the normative heterosexual parameters concerning family, labour, beauty and sexuality are left behind and redefined. A recognizable reference is Jean Genet's novel Un journal d'un voleur (The Thief's Journal). Aïnouz balances between facts, narration and interpretation, ignoring transvestism as a theme. Redefinition as a method leads the thought to films such as Caravaggio by Derek Jarman, but the aesthetic of Aïnouz is the opposite to that of Jarman's, rough, dissolving and ethereal. The form emerges from the paradoxically refined and experimental camerawork, and a dense sound machinery; both worth mentioning as singularities. Madame Sata should be considered an example of non-linear narration, where elements such as drama, ideas, sound and photography unite in the logical structure of its own. JAN HIETALA

Medverkande
Lazaro Ramos, Marceilia Cartaxo, Flavio Bauraqui, Felippe Marques, Emiliano Queiroz, Renata Sorrah: Producent
Isbel Diegues, Mauricio Andraede Ramos, Walter Salles: Manus
Karim Ainouz: Foto
Walter Carvalho: Musik
Marcos Suzano, Sacha Amback: Talat språk
Portugese