Mabel Munoz
Just intense enough to provide a much-needed diversion, just lightweight enough to make you forget about it soon after it’s over. It’s not exactly “good,” per se, but it does what it sets out to do in terms of putting us on edge, which makes it … successful?
viniciusrossitto
Four men (Djan, William, Ricardo and Biscoito) live in São Paulo, Brazil, more accurately in shanty towns ('favelas'), orbiting around and living for 'pichação', a unique form of graffiti consisting of tagging done in a distinctive, cryptic style.Embracing a beautiful photography and an authentic, fragmented and prismatic storytelling, as well as a bold world view, Tuulensieppaajat/Pixadores achieves a weird immersion, to say the least.Among all the stories and positions established by the movie, it counts on poignant and straightforward reflections, usually hidden in trance-like images and strange but very functional composition choices ('who is not seen is not remembered' and 'the refusal is our glory' are among the best).Despite some minor cliché choices that contrasts with pure and interesting inventions, Tuulensieppaajat/Pixadores gives life to the city of São Paulo, a real character in the movie, especially its least known parts. Besides that, there is a drowned agony particularly in the end of the movie, given the 'pichadores'' inability and optimistic resignation, so to speak, towards the reality and its almost unpredictable events.Lastly, the 'pichadores' state a very clear political position: 'We live in a city of walls. Walls serve to separate people, not to bring them together. In 'pichação', nobody owns anything, the city is everybody's'.Overall, very recommended.
