It was there that he grew up and found art, and where he claims to have photographed a ghost.Īs Act Two transitions away from his apartment, Filho shows us more portraits of things that were once alive.
“By combining ordinary sights and cinema’s lens, you get a movie,” he says, not so much narrating but rather engaged in casual conversation, revealing his approach to filmmaking. Though it has mutated and struggled, Filho’s Recife still stands tall.įilho’s relaxed voiceover guides us through his family’s history and lays the film’s ideas bare. Its title may recall images of the deceased, but it also brings to mind an enduring spirit - something ephemeral, but never fully gone. Effortlessly flowing through Recife’s 20th century, Filho’s direction gains a joyful rhythm, full of hope and wonder. Scored with the energetic tunes of Tom Zé, Sidney Magal, and other Brazilian artists, “Pictures of Ghosts” is just as enamored with the streets and people surrounding those cinemas as it is with the rooms themselves.
#PHANTOM SCREENS REVIEW MOVIE#
Once upon a time, you could say the same about movie theaters.īut this nostalgic and melancholy trip is also a celebration. It’s a tragic notion the director furthers near the end of his film with a montage of drugstores, nodding to a local joke about Recife having one on every corner. By attempting to revive dead cinemas like Trianon, Art Palácio, and Moderno, “Pictures of Ghosts” smartly traces a line from the old days to now - identifying the death of movie palaces as a symptom of a larger disease. Once surrounded by screens of all sizes, the city’s cinephiles can no longer depend on multiplexes for getting their fix. ‘The Nun II’ Edges Out ‘A Haunting in Venice’ by a Hair in Initial Estimates
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