Opiniones de Rodrigo_Amaro

Easily the best music video and theme song for the James Bond played by Timothy Dalton - the other film "The Living Daylights" had a cool song with a watchable video. Gladys Knight and "Licence to Kill" makes us remember of the powerful female singers performance that enchanted listeners (Shirley Bassey being the real queen of all with three songs).

Doesn't go out with a new concept but it works in such a great manner while evoking the memorable opening titles from the Bond films that it became the standard for all the clips that came afterwards. Gladys ellegantly dressed as the secret agent performs the song along with a group of female backing vocalists/dancers, and several of the biggest sequences from the are displayed showing the action and the film's towering ambition in creating wild moments. The artwork is quite effective, mixing references from the lyrics with the film scenes in a spectacular fashion.

The song? A big explosion to the senses with Gladys magnificent voice become a strong force of soulful expression aligned with the memorable arrangememts by Michael Kamen. It's one of themes to be truly appreciated. 8/10.

I never imagined this would be possible but someone did it. The classic Johann Wolfgang von Goethe novel "The Sorrows of Young Werther" was turned into a contemporary romantic comedy. The heartbreaking story about unrequited love of a young heir with a married woman in the 18th century became a charming, fun and light-hearted film that makes you forget just a little about the doomed affair written by the German author, but there's also plenty of time for some drama and some pain. A classic from univeral literature that has yet to be adapted by Hollywood, and the closest we'll ever get is with this Canadian production. A quite good one, gladly, but the hardcore fans of the novel will dislike it completely.

Douglas Booth plays the aspiring writer Werther, who travels a long distance to take possession of the family estate after the passing of a relative. He travels with a hypochondriac/germophobic friend (Jaouhar Ben Ayed) and life seems fun and colorful until he meets a beautiful woman named Charlotte (Allison Pill). Instant admiration is formed when not only is she beautiful and fun to be with, but they share an instant connection revolving on art and literature references. Magic in the air for him but it's revealed that she's about to marry Albert (Patrick J. Adams), a very important lawyer and there begins the helplessness of it all. The friendship remains - even Albert becomes a good friend too - but it's obvious that Werther will find ways to turn things on his favor, he's deeply in love with the woman and he needs her badly.

Apart from the different setting, different technologies and different social conventions, the 21st Werther manages to take things a little lightly and the constant notion fought between him and Albert about dying for love and other philosophical questions are practically inexistent here. The story presents a great deal of fun and humored moments between the doomed couple, with an everlasting sense of a joyful friendship that slowly becomes a series of confusion and messy ordeals - blame it on the poor dude trying his best efforts and making a mess out of everything - until it hits a slightly serious tone. It's a more hopeful than the actual original material (obviously) but it's such a cute, romantic and funny film that makes us see life in a different manner, or even believe in the idea of ancient romantic love in a digitalized era.

On the other hand, a majority of the man's inner intense feelings as expressed through his diary/letters in the novel, is absent and missed. Instead, we have conversations with the friend that are vaguely interesting; the few moments with Charlotte's perspective were good to watch. But again, this is a free adaptation, don't expect to see a full Goethe in here except for its basis and some of the key moments from the story. This one feels like a cousin of "(500) Days of Summer".

It's easy to have a great time with the movie as the performances are funny, romantic and captivating, especially the couple. Allison was a real enchanting Charlotte and with the adorable, fun-spirited Werther of Booth they formed a delightful couple, one of those that you really wish to be together but you also know that they're always will be best friends and nothing more. It makes you look at relationships in a thoughtful and relevant manner but also leaves audiences very entertained. To the devoted readers of "The Sorrows..." (like me), try to enjoy the journey a little. 8/10.

If there was a movie most deserving of a special documentary about its making and legacy 50 years after its release that movie would be "Jaws". Like it or not, this one of the remarkable cinematic experiences that changed the game in the film industry, established for good the name of Steven Spielberg as one of the greatest film directors of all time, but also made the system pay more attention to film release calendars (being July a key month for blockbuster releases) which in turn made studios focus intensely on the business part more than the show.

But it's a damn great movie that never lost its essence, its charm, its humanity, and to a great number of people one of those classics that needs to be seen over and over. A true icon of the 1970's New Hollywood with a large following of fans and admirers who love everything about: the story, the acting, the editing, John Williams unforgettable tense score, and even the fear of swimming on a beach is shared.

Luckiest man in the behind the scenes department Laurent Bourezeau once again delivered a masterful look back to a cinema classic. If you watch DVD/Blu-Ray bonus materials you probably seen his name attached to several making of or tribute specials to countless films, and this one is definitely one of his best ever made. We have Spielberg recounting memories and impressions while making "Jaws", the many difficulties faced while shooting important sequences, dealing with studio heads and the inner pressure of believing that that the film would either make or break his career. Also involved with the film are the presences of composer John Williams and actress Lorraine Gray; but Richard Dreyfuss is absent except for some unseen behind the scenes moments.

Then there's also the great admirers of "Jaws" like directors Steven Soderbergh, James Cameron, Guillermo Del Toro, Cameron Crowe, J. J. Abrams, Jordan Peele, actress Emily Blunt, all with fond memories of seeing the film long before they become involved with the film industry.

Those are the expected obvious parts yet it's pretty good to watch them all.

The difference from similar specials were the fascinating and lovely interviews with oceanographers, as the film presented a good view of their world and "Jaws" end up having a dual legacy about it - the ones favoring the protection of sharks and others wanting to become hunters like Quint; and the bits with the locals from the filming ___location who had small or extra roles in the picture, and how the film became an important part of their lives and the town too; and some curious info on writer Peter Benchley (who wrote the novel) shared by his family - the anedocte about Fidel Castro being a fan of the book as a metaphor for Capitalism and its problems was hilarious to hear.

It's a near perfect documentary that covers everything you need to know about "Jaws", its making and the everlasting experience it caused on many audiences. I believe that an extra half-hour was needed to show Spielberg's career and power afterwards - just to refresh some memories out there - and the big influence sparkled within the film industry, good and bad, and along with "Star Wars" that's the scenery we're into it when its comes to blockbusters and upcoming releases and the desperate need for bigger, better, faster and more of the same films which sometimes come with a compromised result. "Jaws" is a different case though. It was never a matter of luck, it was pure talent, hard work and the best people and the best intentions put together with an excellent result. Here's to another 50 years! 9/10.

From the film school assignment of "telling a story with music only", director Phil Joanou created a fine serious drama about a gambling addict who after losing his small earnings on a small pool bet decides to leave his wife and baby behind to go to Vegas try his luck in the casinos and get his money back. Instead of dialogues. Mr. Joanou presented its small tale through the words and songs by Bruce Springsteen (from the albums "Darkness on the Edge of Town" and "The River") and many descriptions, scenarios and even the melancholy rhythm of them all fit perfectly with the main character up's and down's.

The director had many short films during his early years as a film student that followed such concept of a soundtrack becoming the main voices and sounds rather than having the actors speaking, though there were always some humor element to them. This one is his most serious short ever since the war-themed "Casualties" (1982). In the case of "The Price You Pay" is all about Springsteen narrating through his songs what we're about to see with songs such as the title track, "Streets of Fire", "The River" and "Something in the Night", as our hero (played by Tony Kienitz) observes the dullness of a pointless life going nowhere in a smalltown that offers nothing but boredom, and all that's left is a friendly gambling moment that didn't serve him any good. But Las Vegas delivers some goods that are always followed with some dangerous temptations to the weak man. The words expressed don't necessarily need to follow the director's images and intention, sometimes it's through the melody, the beat and the sounds from the song that we have all the required emotions to feel the character's pain and mysery.

This combination of elements and the songs were really good, effectively well made. It makes us think deeper about the story, the situations presented that, while a life's sad cliche beyond the movies, felt as providing something extra. A clear observation on desperate hungry hearts and minds that feel the need of fulfillment with things that only brings plenty of dissatisfaction, emptiness, costing not only's time and money but also of others, especially loved ones. The few ones who learn a little with the movies will feel something deep down inside, and maybe avoid some costly prices to pay. 8/10.

One of the many earliest student films made by Phil Joanou in the early 1980's, "Break Up" has the charms of a bright idea that I can't say if had been done before - probably through music videos but not in the exact same manner. The future director of "U2: Rattle of Hum" and "State of Grace" was given the task of producing short films without the use of dialogues, and only music was allowed to tell a story. All great works showing the young man's talent for editing, visuals, camera work and telling a good story without needing much.

This one covers a young student, played by the director's male muse/alter ego/frequent collaborator Tony Kienitz, who tries to cope with the end of his loving relationship with a beautiful girl. He gets on his car driving through many L. A. roads, distracting himself through the songs played on the radio. Or at least that should be the ideal, but it turns out that each song played on the different radio stations brings back memories of his relationship, the good parts, the fun parts and how it all ended. Songs by Billy Joel, Journey, James Taylor, The Cars and REO Speedwagon invades his car and his mind, dominating the man's feelings as he rushes through many streets.

And the songs you loved once will definitely find a way to break your heart. You've probably been there with a special someone during critical times in a relationship, breaking up or even returning to the relation, there'll be those lonley moments of apparent peace that are broken by some music, some tune from the past or even some unfamiliar song that end up describing heartaches, some loving feelings that brings the memory of a loved one that you want/need to forget. If you haven't been there, consider yourself lucky and just get a taste of such idea with this short about how to deal with a break up.

The featured songs speak everything that's needed, and the actors expressions convey all the required emotions and reactions of pain, hurt, love, care and no dialogues were needed. It's a masterful execution that makes you feel something, laugh a little, dream a litte, despite the simplicity of its ideas. 9/10.

Another good music video partnership of U2 and frequent director collaborator Meiert Avis, the clip for "New Year's Day" takes advantage of the war sounding rhythms from the song's instruments to evoke European wars and conflicts as Bono and company perform the track on snowy fields interspersed with archive images of battles and war tanks.

The song was inspired by the Polish Solidarity movement and their opposition to the Communist regime and their ruling on the country. The unity of a movement and their strength against tyranny moved the early 1980's and hence the idea behind the music, though its video hits us with the battlegrounds of a different era, other regimes to be fought against. This visual translation of concepts work just fine.

While the music is truly great, one of the band's greatest hits, the clip isn't so appealing or interesting to look at. Very dated, with some poor editing transitions and a weird-looking mix of images with the U2 act going along with the old images. Gladly they didn't made Larry Mullen Jr install his drum-set uphill. He plays with one tin drum, a fitting image that evokes drummers on battlefield.

Avis and U2 went on with better videos in the years that followed, and this one is simply a fine and watchable event ,with the main appeal being the amazing song, the unforgettable keyboard motif, The Edge great guitar work and all. 8/10.

The mysteries of life, time, the past and the present are amazingly depicted in this curious and intriguing short film that mixes rotoscope animation, live action and archive footage, immersing us in a story that challenges any possible explanation about the human designs and the so-called eternal recurrence of a life. Some will see it through a philosophical lens, others will see through a spiritual perspective, but both can't deny the experience of watching and thinking about "Anne" in a very interesting and fanastic manner. If it doesn't move you, at least it'll provide you with plenty of astonishing ideas that will keep you awake at night.

It's based on a real life story revolving a young boy named James who couldn't sleep due to a series of nightmares related with a WWII pilot whose plane was shot down in the pacific and little James sees and feels the pilot's point of view, the memories of war and the persistent idea that he had a mission to complete. His parents are intrigued and the psychologist helping the boy doesn't have answers for this peculiar case. How come a kid from a contemporary era have vivid memories from a different period? Is there some sort of answer to the nightmares? What is the pilot mission and why the boy has something to do with it?

Slightly predictable with the main idea, "Anne" still manages to throw some surprises at us and become a memorable experience worth seeing. It is about past lives (a theme that attracts me) and this one surprised me a little as it escaped from some cliches used in other artistic forms. It's not fully a religious look into the matter, it's more like a mystical view of the universe where some lives can connect with an event or a person from a differnt era and that connection can evolve in unexpected ways many decades later (mankind and its eternal sense of closure).

The combination of techniques makes it a very artistic and rewarding experience as it allows us to separate the different eras, and the animated present has more of a dream quality than if we were seeing the actors playing on screen (which would look corny or the acting would look too sentimental). The drawings work very beautifully and we're mesmerized by its quality.

Last but not least, it's one of those rare film experiences that can make you look at life in a different manner. 9/10.

"Os Desertos Dias" ("Empty Days") deals with the torments and anguishes of a haunted man frightened about a potential known yet invisible enemy from his past as a guerilla member that is coming after him, or so he believes.

The middle-aged Luis (José Rubens Siqueira) is living on exile in some unnamed country with a peaceful coastal town, and in his lonely room he writes a series of letters to an old friend detailing about his fears, his thoughts and the empty days staying there. Prepared to meet the one who'll kill him (as he has a gun), yet he keeps on worrying, terrified between nightmares and also some strange events that happen around him in a place no one is supposed to know him. Dreams, reality, paranoia, and we're anxious in knowing if the danger is real or not, and what the man's reaction will be.

Quiet yet suspenseful, the short is something of an unstoppable poetic force, told through Luis perspective and narration of imminent pain and death, trying to remember better days from his past. Though not made explicitly, it revolves on the military regime period in Brazil - though the story can be viewed from different perspectives and nation situations as well - and one can imagine it as a reality lived by many people who were persecuted by authorities in politically conflicted countries or during wartime.

Noel Nascimento's score is haunting, going from drama to suspense in a subtle and effective manner. Siqueira delivered a great and solid performance, captured though his silent expressions and silent interactions with few people, mostly he only narrates the letters (he's also one of the writers of the short), full of fear, some melancholy and plenty of sadness. He wasn't a regular on screen presence, as his career was devoted to stage plays and also as a book translator. So here's a great opportunity to see his acting talents. 8/10.

An early music video directed by Jake Scott that promoted a Glenn Frey song used in the film of his dad Ridley Scott, the iconic "Thelma & Louise". Jake would become a bigger name in the industry making clips for Radiohead, R. E. M. And others, and directed a few movies as well.

This soundtrack clip didn't much efforts as it was simply following Frey playing the song on a similar themed setting as the one featured in the film, and lots of edited clips from the same source. It sells the movie in a lovely way, but also as a fun road movie with plenty of romance rather than the most serious idea of it. Geena Davis, Susan Sarandon , Harvey Keitel, Michael Madsen, Brad Pitt (very briefly) are all there but the clips shown give the impression of a girl buddy comedy, throwing just a little about the thrilling action sequences. The song is alright but doesn't stay with you for too long.

Nice debut clip for Jake, who only improved from here. 7/10.

The good thing about this Bond track is that very listeneable and somewhat memorable - though it's far from being one of A-HA greatest efforts. The theme composed for "The Living Daylights", Timothy Dalton's introduction in the 007 role, works in a great way just as the underrated film. The video clip doesn't offer much, if compared with the previous entry Duran Duran: A View to a Kill" and its fun and thrilling concept of mixing the band with a moment from the film.

Here, Morten Harket and company perform the song inside a big studio warehouse set, with some cool effects recreating the film's classic opening titles, which makes the trio look as if being part of the film concept but not exactly part of the action with Dalton/007. Some moments look very dated and doesn't work all that good, with countless action bits from the film cut along with the group playing the song.

It's cool but it'd be a lot better if the trio play roles in a Bond concept as spies and villains. The guys knew how to throw some acting into their videos (the sailor tribute to "On the Town" in the lovely clip for "You Are the One" is a great example) and a franchise like 007/Bond depends a lot of videos that can go beyond clips from the movie and band/artist performance to invite audiences for the movie. But this one end up quite fine, despite a bigger spectacle. 7/10.

Turning pain into art, or very close to that effect. Of random memories that can't hurt much anymore. "Sliver" by Nirvana brings past memories of neglect or feeling unwanted by parents that leave one kid at some undesired place with undesired people (in this case the grandma). The anarchic music video shows another kind of abadonment, one that is equal parts of chaos, confusion and fun.

A ridiculously messy smallteenage room is the set for Kurt Cobain to act like crazy as he and band perform the track. The line "Grandma take me home" said in a repeated sucession between the verses telling the kid's story about things happening when his parents left him to attend a concert, everything hard to forget. But it's the moments with Kurt carrying and dancing with a stuffed jeans pants that gives the impression of a mannequim cut in half; the monkey toy moving; or the cameo of Cobain's daughter Frances dancing between shots, are all iconic memories of the 1990's. The kind of clip that can't be described with effect, it has to be seen. 8/10.

There was a time when I couldn't stand this song, especially that unforgettable intro with the synthesizers. It was used on a radio show after midnight or something, entirely devoted to play love songs and the host would read couple's messages and song requests, and that intro was used on a loop as the man used his sexy voice to narrate everything. Then one day I became to like the song as a whole, and those first notes were a great part of that. Go figure. Maybe the romance in me was alive and songs like this one and "I Just Wanna Stop" also a great hit by Gino Vannelli, started to echo deep down inside.

The video for "Hurts to Be in Love" is possibly his best in terms of settings, presentation and ideas. It feels like that there's some storyline but not that much, as he performs and plays the piano inside a film set where a movie is being made, with a couple of dancers and artistic performers, and some on-and-off romance with a beautiful lady is part of the act. If whatever happens there doesn't appeal to you, then the song is what will keep you listening, thinking about similar feelings as sung by Gino and the whole intensity of passionate moments where one of the parts feel too much and the other thinks about everything going way too fast. Oh the heartbreak of it all as only a performer like Gino can make.

And now I miss that show late at night - I think it still goes on and I'm grateful as it introduced me to a wide variety of songs. 8/10.

Equal parts of greatness and shock, fascination and controversy, the clip of "Pearl Jam: Jeremy" is a must-see music video. Its timeless quality both as an artistic visual statement and as a dark synthesis of high school period has never been matched and with great reasons. The kind of video that motivates discussion over its main topic, how it addresses conflicted teenagers, school shootings, suicide, disfunctional families, but also invites the thoughts about every single frame shot by Mark Pellington, long before he become a filmmaker (please watch "Arlington Road", another mindblowing experience). Last but not least, a great time to get to know and hear Pearl Jam at the top of their game with a massive hit - and this music video is part of the reason.

I've seen "Jeremy" several times and it's a little hard to express everything about it - I tried once but my review of years ago vanished into an Error 404 and sadly wasn't saved. I find it as one of the most disturbing music clips of all time, and when the uncut version was made available I was even more spooked than before. It's all dark - the colors, the song, Eddie Vedder's crazed expressions while performing the song - those fast cuts showing bits and pieces of Jeremy's life at home, at school, or some solitary moment running through the woods; plus the many titles describing the time and place of a tragedy with some newscasters voices echoing over each other in the beginning. It leaves you glued into putting the pieces together about what really Jeremy spoke in that class, that afternoon on an affluent suburb.

Mr. Pellington is right in expressing frustration over the "censored" version that I grew up watching, as it gives the impression of a school shooting scenario rather than the boy (greatly played by Trevor Wilson) killing himself - but if one pays attention to the iconic and unforgettable image of his classmates, fronzen and all dressed in white with a bright red painted on them, the frozen hands up in the air and the shock in their faces, none of that looks as they were the victims. The kid had issues within himself, but it's interesting to see the other idea as acceptable since it became more common massive tragedies on schools than a suicide only, and hence why the video managed to create some debate in the following years of its broadcast.

And there's something about the song that makes it very appealing, tragic yet fascinating with Eddie's magnificent and powerful voice, and the lyrics, a cinematic poem. Timeless just like the video, one of the greatest ever made. 10/10.

After Kurt Cobain's death in 1994 and the dissolution of Nirvana as well, many of its fans wondered what would be like the future without any new songs or unreleased material from the band, with the latter always being a matter of speculation that widow Courtney Love had plenty of stuff kept but she wouldn't release it. The early 2000's greeted us with "You Know You're Right", released on a compilation album - greatly trashed by a popular cinema/music magazine in here as it only contained this song as the big novelty - and it also got a music video that was heavily played back in 2002. Lots of buzz but the song failed to generate a wider impact on listeners, it was a case of effervescent popularity and that's that. And I only got here due to the many memories I had of when the video was a constant presence on MTV in basically every single program from the network.

Nevermind (no pun intended) the song, which is vaguely interesting for what it says, the pain and fury on Kurt's voice and the loud riffs of it. The clip works as a masterful collage of Cobain, Krist Novoselic and Dave Grohl moments as captured from some other clips, concerts, the unplugged, interviews and behind the scenes moments that makes us remember the wildly acts from the trio, the crazed and funny moments, and the intensity brought with each Nirvana performance. The editing and gathering of images, with many unseen sequences at the time, were amazing. It kept you glued to the screen, never allowing you to blink, not once.

Many say that rock n'roll died when the band ended, and it felt like in a way. The genre became a formula, limited itself and the idea of party hard groups whose rebelness could be seen and felt on stage and on music videos faded away a bit. You can pick any recent rock video, watch this one and see how different they look, how different they sound, and how chaotic yet interesting that giant grunge group was. For those who lived the era, nostalgia hits extremely hard. Around that time when this video came up I was discovering Nirvana thanks to school mates who were playing their songs on guitar a decade later after "Nevermind" came out. From then on, I was conquered and the music videos were also a great part of that too. And the one made for "You Know You're Right" came like a huge blast that had to be witnessed either you were a fan or not.

For new generations or those unfamiliar with Nirvana, it's an interesting starting point in a visual way to see and understand how big they were and their legacy on music, the impact of their sound and the intensity of their on stage acts.

It feels like a preview of things you're about to discover through their albums and their music videos. And it serves as a masterful tribute to the late Kurt Cobain. 8/10.

From the sadly underrated album "Two Hearts" came this fun-loving and awesome song that had all the great elements to become a hit but wasn't all that much - fans love it though. "Everything I Need" is a perfect rock ballad by Men at Work and conquers you very easily. The video is quite alright as it presents band members having a good time during parties or driving a truck, with few colorful moments of Colin Hay and Greg Ham performing the song on a beautiful field landscape. There's warmth and joyful moments which suits the song's energy and memories of special times, but it's not much memorable or greatly humored as previous hit clips like "Down Under" and "It's a Mistake". The song makes it special. 8/10.

Whoever came up with this entry in here and included among the great filmmaker Glauber Rocha works, I salute you, just as much as to the one who made this compilation of moments from the TV program "Abertura" of which Rocha was the host. It's not like the director of "Terra em Transe" was the actual director of it, but he was definitely the mastermind behind nearly everything, front, back and center. The ideal entry would be as a TV Series with two seasons (1979-1980); however, since the information about the program is very scarce and even many episodes were lost such page wouldn't be possible. And why such acknowledgment? Because it's a highly informative piece, fun, hilarious, borderline chaotic at times as Glauber was, but also a serious and real reflection of Brazilian society while discussing many important themes during the so-called Abertura ("Opening") of democracy, slowly returning during the final years of the military regime.

What "Abertura" was exactly? Broadcast on the defunct Tupi network on sunday nights, the program led by Glauber Rocha discussed a wide variety of themes (politics, society, philosophy, culture, etc.) taking advantage that the political opening allowed a less strict censorship of ideas exchange. Like the amnesty brought at the time, the show used as a tagline the notion of allowing a "broad, general and unrestricted" debate. The documentary takes a few excerpts from the show, mixing interviews with famous and anonymous figures such as musician/critic Nelson Motta, producer Luiz Carlos Barreto, politician Antônio Carlos Magalhães, psychoanalyst Eduardo Mascarenhas, among others; countless and long verbose speeches of Glauber criticising the state of art and culture at the time, and a few humored bits with his silent sidekick Severino. There's even a quick behind the scenes moment filmed during "A Idade da Terra" making, Rocha's final film.

If you really want to get a feel of the idealism and hopes people were starting to get in 1979/1980, with the gradual return of democracy and all the great thoughts of that time, this is a must-see experience. To think about everything that was predicted right, the things that didn't happen then or are yet to happen. One of the great moments shown is where a man talks about funding a political party (after years of only two parties, many sectors from themselves and outsiders began to form their own parties, as new laws allowed that in 1980). I don't remember the guy's name but his ideals for such party, the free-spirited and liberal notions of justice, inclusion and fairness all sounded spectacular and worth supporting - but that would only happen in more perfect societies that put education and infrastructure investments at the top of the pyramid.

But besides the seriousness of it all, there's plenty of room for humored bits to make you laugh out loud. Rocha was a master of controversy and he trashed everything and everyone, criticising "Last Tango in Paris", "Emmanuelle" (1974), "Superman" (1978), his Cinema Novo contemporary directors who were making bad movies and spitting on the films they did in the past; but he also praised what he considered valuable names and works in Brazilian music, writing, even making promos for a book of his and urging audiences to watch his latest film. As an interviewer, he was an excellent director. The man prolongs his questions like crazy and when it's time for the person being interviewed to answer, there he goes with some interruption (but always with some funny remark in between - when he talks about the great tough women of Northeast region he goes like "Doca Street wouldn't exist in that place"). The interview with the guy on the street was only cringe because the poor guy didn't know much of anything Glauber was asking.

I truly feels like the kind of program that I'd watch if living at the time. It's highly educational, interesting and inspiring, and even with some slightly confrontional tone from the host he was very open in hearing different perspectives, inviting people of opposite views as his (though I can't tell if it actually happened on the show since the figures presented had plenty in common with Glauber, they're all on the same page). To reveal what's behind the masks that lies in society, to show the real facade of who we are, what we are, what do we represent and the changes we want and no longer hiding from the unavoidable. That was what "Abertura" was all about, the dialogue of ideas worked brilliantly and respectfully. Here's a chance to see the director in front of camera, showing his true colors, true passions and with that you can understand a lot more about his films, his message with them and evidence how consistent he was - despite the poetic ramblings and descriptions he used to deliver. But it's all so fun to watch. 10/10.

The eternal Men at Work frontman Colin Hay delivers one of his finest solo works in "Into My Life", a somewhat huge hit in Brazil due to its inclusion on a popular soap opera soundtrack. The kind of song that makes one smile and feel good with its amusing melody and the singer's vocal performance, and it brings back many good memories of more lovely times. I never get tired of listening to it, and it's been going on for a long time.

The video, however, seems a little obscure and almost random as it doesn't revolve on a storyline but mostly on small moments of several romantic couple meeting, spending some time together and folks having a good time swimming, walking on beaches or amusement parks, with many intercuts of Hay and his band performing the song. It'll only make you remember of Men at Work because of Hay's voice, since the instrumental work goes into a more pop/rock ballad beat that was more common with the late 1980's-early 1990's sound scene. A very happy song. 8/10.

The great hit song that made samba-reggae group Timbalada became a sensation in 1993, "Beija-Flor" got a smooth MPB version recorded by Marina Lima in 1995 that was marvellous on all levels. If the original take is appealing due to its rhythm and the drumming, Marina's cover is special as it allows a more quiet way to make us pay attention to the poetry of Timbalada lyrics, plus the great use of instruments (with the violin section being a special part that even the singer has some moments in the clip where she plays it). Though her voice was far from what the amazing range she had during the 1980's phase, a well-known fact that over the decades it slowly changed due to several bouts of depression at the decade's turn, her performance made it a very suave thing, a kind of harmony that suits with the romance, the seduction, and the beauty from the words written and expressed.

As for Andrucha Waddington clip - he later went on to direct many feature films, including "Eu, Tu, Eles" - it's a lovely concept revolving on many forms of love, comfort, happiness, solitude, longing and with groups of people of all ages, races, all included in one setting (house rooms) expressing themselves. It's almost like a family album with each image being turned over like old pages (sepia tones) as there's plenty of cuts that hardly ever allow an actual movement - but it's there. Marina appears in between shots, and the hummingbird described in the song only appears through a drawing on a picture frame. In her voice, you can really feel and sense a love declaration being performed to a loved one, and along with the group of musicians she had available a beautiful sweet performance was developed altogether. I simply love it. 9/10.

The song/hymn that truly describes the man as he were swimming against the current and being the unique individual that he was, "Maluco Beleza" ("Crazy Beauty") applies beyond Raul Seixas, as it can also be used to describe many unusual and unconventional free-spirited individuals and personalities, anonymous or not. It could be about, reader, and that's totally fine.

The few aspects about this music video that connects with such ideals is the amusing appearances of Raul walking down the streets wearing a classic Greek costume, as people turn their heads to look at him in a strange manner - like who's this guy and what's he doing? - and playing an executive type fully clothed on a sunny beach.

The other memorable aspect of it all is that the man is completely unrecognisable without his trademark beard, and barely wearing shades. Seixas looks so different and all I could think was of young John Hurt.

A classic hymn for his fans and enthusiasts, again got a manageable clip done for program "Fantástico". Quite alright. 7/10.

As many wars and conflicts around the world are taking place, director Wim Wenders made a small trip to a school in France where an important event in 1945 sealed the end of World War II (the European front). 80 years ago, on May 7, 1945, a school in Reims was used as the Allied Forces Headquarters led by General Dwight D.

Eisenhower during the recapture of France, and there, German Colonel General Alfred Jodl signed the unconditional surrender of Nazi Germany, inside the map room. Another symbolic event was the presentation of the Keys to Freedom to the town's mayor - the keys are part of the musuem exhibition where the school used to be.

Combining archive footage from the events and some small moments with extras recreating the 1940's setting, Wenders travels back and forth in time inside the school/museum reflecting on a long distant period in history with the closing of a tragic moment that shook the world and changed the course of history ever since. The war to end all wars was only in name as the world has seen countless conflicts over the decades, millions of lives lost directly and indirectly, and freedom was always at stake no matter the cause being fought. He reminds us of a time when peace was made possible when most people didn't think it was possible after the many years of deaths on battlefields and concentration camps. There was an end to it, and mankind was relieved.

Born a few days after the end of WWII, Wim Wenders never made anything related with wars - the closest he ever got was through legendary photographer Sebastião Salgado's photo coverage of many civil wars in Africa in the amazing documentary "The Salt of the Earth". His cinema was more concerned in following human relations, human connections and people going through spiritual or soul-searching paths, surviving the wars within themselves in order to find solace and peace. He does the same in "The Keys to Freedom" as he observes the agreement of two different forces finding a common ground and putting an end to all of what's wrong before. In chaotic times, a short documentary like this makes us believe in the possibilities of a better world. It can happen again, as long as we don't forget what had happened before, throughout history. 8/10.

One of Titãs most artistic and most interesting music videos, though not necessarily one of their best songs and neither the band at their most interesting phase, "Eu Não Aguento" carries a great of heavy imagery and heavy sounds while talking about the pressures of society that go 24/7 and non stop and how the state of insanity sets in and the wish for freedom, by simply shouting "Can't Take this Anymore" and maybe doing something to escape from craziness.

It's most memorable image pays an excellent tribute to 1970's rock/MPB group Secos & Molhados first album cover, the banquet of heads on a table. But this time the still photography becomes a moving image (with a lot more band members than Ney Matogrosso group) and then singer Sérgio Britto begins to sing the opening notes. From the on, the black-and-white cinematography, the editing flashing effects and the horror-like makeup on everybody turns everything into a creepy experience of men losing their minds or enjoying things in their unusual perspective.

The lyrics are fine and relevant, but the song doesn't appeal all that much and I got accostumed with the group's second version of it, a samba-rock rhythm they released on the "Volume Dois" (1998) album which was basically a selection of Titãs covering themselves but changing styles, instruments and rhythms to sound lighter - there's a few new songs in it. Very good clip with the original version, the use of a classic reference that suited the material in a fun and unique manner. 8/10.

A jolly cute idea that was quite typical in some commercials for many brands out there but today might not appeal all that much. In "Hey Kid, Catch!" a boy (Tommy Okon) gets the chance of greeting his favorite football player 'Mean' Joe Greene at the end of the game, as the man limps back to exit and aids the injured with the refreshing bottle of Coca. Obvious that there's two other surprises on the way but it's best to not reveal it.

Let's face it, the product always knew how to attract viewers and buyers as they had a great marketing team that knew how to catch audiences attention in a unique manner.

From the classic early years of those colorful advertising posters to the polar bear TV commercials (this one sent all over the world), to this one starring a famous sportsman to the ones featuring a pre-fame Keanu Reeves, Coca-Cola (or Coke) hits the target 99% of the time and with a great effect. This one plays out with the fun dream idea of a kid meeting their favorite personality, the lovely interaction between both, and the product serves its ultimate purpose. It works, despite being a heavily cliched idea. 8/10.

Definitely one of my least favorite songs of all time, "Tente Outra Vez" is the kind of music that whenever it pops I simply turn it off or change the station. I understand its incredible positive message that probably might have helped a great deal of people everywhere - since it's one of Raul Seixas most well played songs of all time - but I guess that kind of echoing message of positivism doesn't sound all that great, feels corny or not so appealing to me (and I do have a negative and boring personal experience about someone singing it too). Anyway, I can't stand it. But...

The music video for it made the experience tolerable and worth seeing, as Raul appears against a background of drawing clocks and at times his face is inside some clocks. This visual representation of time, hours and minutes moving the weeks, the months and the years, as a way to indicate that seasons pass by and that despite problems or bad outcomes one musn't give up on things or life, and simply just try again. Not exactly time as a healer, but time as something to learn and evolve, to allow ourselves to try one more time as there'll be good things to come, to see, to do, a powerful force to shake the world as the man says. The combo of words and visuals were interesting, a fine form of artistry at play, even though it's one of those old clips from "Fantástico" that hardly ever were appealing. This one's good. 7/10.

"Gita" marked as the very first music video of Raul Seixas, one of many made for the TV program "Fantástico" for many artists (Raul had 12 made), back in a time when music video weren't exactly a trend and neither had the great qualities and aspects as we grew to learn after the 1980's. Artist Cyro Del Nero created a nice and interesting concept as the singer performs the song against a colorful background of countless artistic paintings and works from around the world, with the lyrics (written alongside Paulo Coelho) evoking the spiritual teachings of ancient and sacred Hindu texts, the everything and the nothing, the supreme states of all and many other things. Crazy like nearly everything the "crazed beauty" did yet very worth reflecting and worth discussing about. The video inspired many of the other videos of Raul, with those old chroma key effects and the editing that changes the background and the performer keeps moving at the front, sometimes interacting with what's shown behind - almost like an acid effect. Highly dated, though the song is everlasting and one of Seixas most accomplished hits, which makes of the watching experience something that pleases as there's some form of combination between visuals and descriptions of states of being and states f mind. To the fans of art it's a fun challenge to remember and name all the works displayed behind the man. 8/10.

This unusual yet incredible reunion of two giants of Brazilian music in a positive, humored and greatly performed samba duet, is already a classic. MPB legends Chico Buarque and Ney Matogrosso shared their unique vocal talents in "Até o Fim", telling the misfortunes of a down on luck man who goes through a series of bad (and funny) situations who refuses to give it up from everything. Somehow this narrator, created on the whims of a nasty cherub who predestined him to become a bad person, finds some optimism to keep on going alive ("I'm going until the end"). The contrast between their different voices is pure perfection.

If the music video were to be made today it'd be a cool music video with actors performing the many descriptions from the song; instead, released at the mid 1990's the spectacle created was simply to put Ney and Chico side by side wearing white outfits against a black set, with some actings moments from Ney using some props. And it works a great deal, even with its simple presentation. I see it as two friends who share the exact same pain and trouble but aren't depressed about them, they're quite amused but just slighlty crazed. Guess the villain was right about that if something doesn't kill you it can definitely make you stranger.

This encounter served to present both artists to the MTV generation, and to show their older fans that they were still strong in the music business. Everything worked pretty well. 9/10.