Medusa

A film of all-consuming rage, MEDUSA seems allegorical at times. But just as often it suggests a moment not so far removed from our own dystopian present. Anita Rocha de Silveira depicts Brazil as a Christian-fascist state, one that uses bands of young evangelicals as its vigilante enforcers. By day, they praise Jesus and are in thrall to a seductive youth minister/politico. At night, they take it upon themselves to thrash and humiliate any woman they deem “impure,” “perverted,” a “homewrecker” or a “Jezebel,” posting the women’s coerced testimonials on Instagram.
But there is dissention in the ranks. MEDUSA singles out a young nursing student, Mariana, whose face is scarred during a scuffle. This sets her apart from the group, and soon she is questioning their ideology. Held together by searing colors and a sense of all-pervasive threat, MEDUSA deploys bold stylistic gestures as well as multiple sources of influence (Dario Argento, John Carpenter, Lucile Hadžihalilović, and Gaspar Noé, among others). Overall, MEDUSA offers something like a feminist manifesto, a bevy of ideas primarily intended to knock the viewer upside the head. (Michael Sicinski)

In the presence of Anita Rocha da Silveira.

Anita Rocha da Silveira: O VAMPIRO DO MEIO-DIA (2008, K), HANDEBOL (2010, K), OS MORTOS-VIVOS (2012, K), MATE-ME POR FAVOR (2015, K)