Behind The Sun (Cert 12)

by CHRISTOPHER TOOKEY, Daily Mail

Behind The Sun is the 最新の from the creators of the art-house sensation Central 駅／配置する - writer director Walter Salles, 生産者 Arthur Cohn and cinematographer Walter Carvalho.

It's easily the best-looking movie of the week: exquisitely でっちあげる，人を罪に陥れるd, poetic in the intensity of its images, wonderfully evoking the heat and hopelessness of scratching an 存在 in a remote corner of Brazil.

The movie is 十分な of marvellous wide-審査する photography, whether of landscape or 直面するs.

The story is one of vengeance, with two 競争相手 families 殺人ing each other's young men, in furtherance of a land 反目，不和 that has lasted for １０年間s.

Its two heroes - the good-looking 20-year-old Tonio (Rodrigo Santoro) and his much younger brother, who's 簡単に called Kid (Ravi Ramos Lacerda) - want to 勃発する of this murderous cycle, but have no idea how to do it.

The catalyst comes in the form of two travelling circus people, one of them a luscious dark-注目する，もくろむd beauty (Flavia Marco Antonio). Will Tonio run off to join the circus? You bet. B

ut once there, will he feel the familial pull to come 支援する, and take his place の中で the dead? Surprisingly, yes.

Neither you nor I would feel remotely tempted to return, and that will be the moment when many will lose patience with the narrative.

'魔法 realism' is supposed to cover up a lot of 割れ目s in a film's 内部の logic, and many will choose to ignore this 欠陥 and 賞賛する its fairy-tale 質.

But even in fairy-tales you have to believe the characters would 行為／法令／行動する the way they do. Here, you don't, with the result that the movie feels a touch too whimsical, too self-consciously allegorical.

This is too slight a film to emulate the success of Central 駅／配置する, but the visual 力／強力にする and lyricism show it to be the work of a master director, much in need of an 平等に talented screenwriter.

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