As boas maneiras

Ein Gruselmärchen über ein Werwölfchen und wie es in die Welt kam, und wie es schließlich seine eigene Natur erkennt. Dabei verbinden sich Fragen nach (leiblicher oder ideeller) Mutterschaft und Familienstrukturen, nach Klassenhierarchien und Rassenkonflikten, nach Differenz und Ausgrenzung mit Genremotiven aus Körperhorror, Splatter, Action und Fantasy. Und weil in diesem Fabelwesen der grundlegende humane Zwiespalt zwischen instinktivem, animalischem Handeln und zivilisiertem Benehmen konkret wird, und weil in ihm das Tier noch lebt, das den Menschen an seinen Ursprung erinnert, ist diese Geschichte über das unschuldige Monsterchen mit den guten Manieren auch so herzergreifend. (Alexandra Seitz)

In Anwesenheit von Juliana Rojas.

Lycanthropy has inspired some great films and AS BOAS MANEIRAS is no exception. In the city of São Paulo, a 21-year-old woman is pregnant and completely alone. Her material wealth cannot overcome her inexplicable helplessness. As she explains to Clara, who she has hired as a kind of maid, neither her father nor her brothers have called her for her birthday. The relationship between Ana and Clara will become something diferent in a few days: eroticism will displace class asymmetry, to such an extent that when the creature in Ana’s womb enters the world, Clara will be destined to raise it. What follows is a slow journey down the long path of motherhood, in which Clara will try to tame the fierce instinct of her charge. In TRABAJAR CANSA, an indeterminate primitivism was used to explore the miseries of contemporary neo-liberalism in Brazil. Here, the ostensible social context of the film’s first minutes enters a mythical dimension that proves liberating on every single level: the framings, the exquisite art design and cinematographer Rui Poças’ absolute mastery of lighting. São Paulo is transformed into a fantastical city whose arrogant modernity lives side by side with the superstitious and the archaic. (Roger Koza)

In the presence of Juliana Rojas.