ブラジルの奥地にある架空の村バクラウで、長老だったひとりの女性が亡くなり、その葬儀に参列するため、テレサが久々に帰郷。それと時を同じくして、インターネットの地図上から村が姿を消し、円盤状の謎の飛行物体が村の上空に出現するなど、不可解な出来事が続発。そしてついには、血まみれになった村人たちの惨殺体が村の外れで発見される非常事態に。実はマイケル率いるプロの傭兵部隊が、村を襲撃する手はずを整えていた…。第72回カンヌ国際映画祭で審査員賞受賞。
製作費: $1,430,000 (2億円)
興行収入: $3,554,178 (5億円)
推定収支: $2,124,178 (3億円)
※製作費・興行収入はTMDBのデータを参照しています。収支は(興行収入 - 製作費)で算出したFindKey独自の推定値であり、広告宣伝費や諸経費は含まれません (1ドル=150円換算)。
FindKeyのエディトリアルチームがこの作品の深層や歴史を解説しています。
監督: Kleber Mendonça Filho / Juliano Dornelles
脚本: Juliano Dornelles / Kleber Mendonça Filho
音楽: Tomaz Alves de Souza / Mateus Alves
制作: Emilie Lesclaux / Dora Amorim / Michel Merkt
撮影監督: Pedro Sotero
制作会社: Símio Filmes / ARTE France Cinéma / Globo Filmes / SBS Productions / Canal Brasil / Telecine / CinemaScópio / Petrobras
A masterpiece. This movie is a very faithful on how the remote Brazilian regions look like, and a very smart and realistic dystopian future movie, a genre that is very rarely well executed in Brazilian movies.
With over 200 credits on his résumé — often as a vampire or vampire-adjacent —, revered German actor Udo Kier has appeared in some very good films as well as some very bad ones; Bacurau, a retarded A Sound of Thunder/The Most Dangerous Game hybrid ripoff, falls in the latter category. The beginning is more or less promising. Tony Jr. (Thardelly Lima), mayor of the Sierra Verde municipality, to which Bacurau (which may or may not be the Portuguese word for 'bumf---') belongs, has blocked the dam and put it under the care of armed guards. His reason for doing this, though, is not very clear; Tony’s seeking re-election, but I don’t think hijacking the water supply is going to get him a lot of votes. To wit, when he visits Bacurau, the locals all lock themselves in their houses, from which they cover him in insults; their bravura, however, never reaches the sticks-and-stones phase. Oddly, the locals are so poor that their hatred of Tony does not preclude them from accepting the food he brings them, but not so poor that they don’t all have smartphones and/or tablets — and why wouldn’t they? Otherwise, the town’s Wi-Fi would go to waste. So far good, I guess. Things only really go to hell when one of the residents sees a “drone” flying with all the grace of Gazoo’s spaceship (the drone is obviously computer generated until it “lands”; then it becomes a prop). The drone belongs to a group of foreigners led by Michael (Kier, sadly not playing a vampire). Their plan is to lay waste to the place — never mind that it’s already pretty much a wasteland —, first slaughtering the population and then literally erasing the actual town from the map (or, at the very least, from Google Maps), leaving it as though nothing and nobody was ever even there at all — and that includes the villains themselves. To that purpose, “I have documents that prove we’re not here,” Michael says at one point. I’d really like to know what kind of documents those are and how exactly they work. During that same conversation someone says that they never use modern firearms, only old ones. This is also never explained. My theory is that all the impossible technology they’ve used so far has eaten up the budget for fancy weapons. One of the “hunters” complains that another killed a child; I guess their plan was to kill all the adults and leave the children to starve, or something. Needless to say, these aren’t the brightest bunch of killers. For example, they cut off the electricity in the town only to attack in broad daylight. This ineptitude mirrors that of the filmmakers, who take a premise that could might conceivably weight as social commentary and turn it into a Brazilian version of Hard Target — or Perseguição Sem Tréguas, as they call it there.
