Sinfonia da necrópole

Untoten-Demo auf dem Friedhof? Kennen wir eigentlich. Doch Rojas’ Wiedergänger sind keine blutlüsternen Mordgesellen. Sie wollen nur tanzen – und ihren lebenden Angehörigen die hässlichen Umstände eines großen neoliberalen Reformprojekts samt Umbettung in ein Grabstätten-Hochhaus ersparen (was es in Brasilien übrigens längst gibt). Deshalb singen und springen sie in einer grandiosen nächtlichen Protest-Choreografie ganz ohne Zombie-Schlurfen. Deodato nennt sich der als Totengräber-Lehrling angetretene kauzige Held dieser um die “Reurbanisation des Friedhofs” arrangierten Liebeserklärung an das Grusel-Genre im romantischen Musical-Komödien-Gewand. (Silvia Hallensleben)

In Anwesenheit von Juliana Rojas.

Deodato (Eduardo Gomes) is a hypersensitive gravedigger’s apprentice entirely unsuited for the job. Afraid of the slightest touch, he wanders through the film, writing secret poems on the back of medical bills and caressing an abandoned church organ. His life gets more complicated when Jaqueline (Luciana Paes), who works for an undertaker’s firm, is sent to the cemetery to enact some changes: to track down and remove abandoned tombs and prepare the terrain for modern graves that are stacked up high. She arrives on a shiny motorbike, wearing leather and brandishing her badge like a cool detective, ready to shake tombs down and break a few hearts. He obviously falls for her. Opposites attract, yes, and together they are doomed to fail, yes, but in this case, Deodato’s heartbreak is the film’s triumph. SINFONIA DA NECRÓPOLE is a musical comedy that transfigures a graveyard into a site of lyrical resistance. Against the skyline of a city where not even the dead can rest, a swarm of kind words, warm gestures, great gags and smooth dance moves flutters and flies. Maybe São Paulo is the real graveyard; outside the necropolis, everyone already seems dead inside. (Victor Guimarães)

In the presence of Juliana Rojas.