'Aquarius' Review: Defiance in the face of corruption

Yet again I was listening to another podcast episode from Roger Deakins in which a director and writer was featured. I had never heard of them before, but I've noticed a trend with this podcast: each person has something similar to say regarding the process of filmmaking, but their stories around the industry and how they make their creative decisions tend to be very fascinating to hear. It reminds that there are very creative, very unique people working within the film industry that are often never really heard of. Where each person that appears in the credits that you don't watch has their own inspirations, challenges, and reasons for doing what they do. This is how I came across Aquarius. This is how I become aware of filmmaker Kleber Mendonça Filho, a Brazilian filmmaker that has made a number of international titles I've never heard of until today. The podcast detailed one of this films named Aquarius. The technical process of directing it, but also the reasons as to why he made it.

It got me curious as they talked about some very personal topics. From how the loss of his mother accidentally shaped one of the characters within the story. How the struggling political climate of Brazil inspired him to work on a film that wasn't purely political but deeply human despite the corrupt events that take place within it. While Hollywood throws out theme park ride stories, there are a plethora of filmmakers which make films based on their own observations within the world, connecting fiction with reality, a method of trying to understand themselves and that world around them. Aquarius seems like it might be a charged film with its narrative: a real estate developer coming in and sweeping up all the homes in the area, to which one particular resident refuses to leave. Again, it shows how we connect to a space, how our lives are shaped by the places we spend time in. That deeply human connection with the spaces we craft many memories within.

I don't think I've seen a lot of Brazilian cinema, especially from recent years. Though this was a pleasant surprise. It really reminded me of the more artistic years of the European Union's film industry, back in the early 2000s. Where stories on life and regular people and their interactions were the focus. With beautiful directing and cinematography which really sells the artistic look on everyday moments within the lives of the characters. This was by far one of the more creative films that I've seen in recent years, without going into the realm of appearing pretentious in its direction. I think much of this case from the use of more natural lighting within the film. No scenes felt like they were really crafted within a set. Everything felt real. Even down to the camera movements which sometimes slowly moved within the space, from one room to another. Or a slow shift in focus to slowly reveal someone or something in the background. Met with slow zooms in and out on specific details to emphasise the emotion.

Despite the film being about a woman that refuses to leave her apartment as a developer buys up the surroundings, encouraging her to also sell, the film has a strong political message to it. And it's one that really speaks on the ways in which governments and hostile entities can manipulate and spread fear into the people to the point of submission. The director was quite vocal in his thoughts over the political climate within Brazil, but the film I think speaks more on the methods. Where we see the lengths the developer goes to in regards to making the woman's life misery living there. Similar to how a politician will evoke fear and chaos to a population in order to 'sell' them the solution, which only results in their own interests being fulfilled. It speaks on the human character to stand up to such manipulations though, as the woman refuses to accept the lengths the developer goes to. Showing the human spirit in the face of corruption. Naturally, while also displaying how powerless an individual can actually be in such scenarios.

For such a film, it's a surprise to see it was shot in 2:35 : 1 and with anamorphic lenses. Quite the different approach when it's not trying to be a cinematic story. Though I think the wider length of the screen, stretching out the image and reducing its height, actually makes the world this all takes place within feel a bit smaller. As if to show that despite all the beauty in the life our protagonist has, she's starting to feel trapped within the space. Even down to her interactions with others, as those experiences too start to look empty and desperate. An odd story, but one that has a lot of context hidden beneath it. Perhaps more evident to those who witnessed the recent political climate in the nation.