传奇巴西地下电影杰作《杀死家庭看电影去》有两个版本，69年的原版（
）和91年的这本翻拍版，导演Neville de Almeida同样来自70年代的“边缘电影”运动，此次与前辈Júlio Bressane共同改写了部分章节，却达到了意想不到的效果和好评，当然影片原本就有的反叛另类风格依然得以延续。。。
A brilliant exemplary of the Brazilian new cinema! Matou a Família e Foi ao Cinema is the most astounding Brazilian movie of the 90's. As a remade of the classic masterpiece of the Cinema Novo with the same name, the movie drive us to a storm of feelings and doubts. In this version Julio Bressane, the original director, rewrote the script to best fit the new conception of an inhuman crime. Alexandre Frota is the tormented guy who kills the family and goes to the movies as if it doesn't really matters. He was at the time the most promiser upcoming artist. Frota today is a porn star. The trajectory of the character should be compared with the one made by Rodya Raskolnikov in the literature classic 'Crime and Punishment' written by Dostoyevsky. The director's vanguard position influenced by Locke shows us the real dilemma of a killer, the ambiguity of the human being. We can discern some Nietzsche's positivism influence in the picture as in the famous crime scene. To give us the sense of reality, Neville, the director, shot his movie in an exotic distribution of colors, inserting the purple and white tendency in our times. In his movie's composition impeccable, Neville remembers us of great cinema classics such as The Discreet Charm of the Burgeoisie and many of IstvAn Szabó pictures, such as Mephisto. Counting with a undefectable supporting casting, Matou a Família e Foi ao Cinema is the best representer of what's happening in the Brazilian cinema.

早期的巴西“边缘电影”经典:在里约热内卢，23岁的地下电影人Júlio Bressane拍摄了其第二部长片作品《杀死家庭，看电影去》（1969），这部仅用了12天就完成的电影成为“Cinema Marginal”中最经典的杰作之一，大量的手提式摄影，不规则的广角镜头，杂乱无序的剪辑以及好几个同时进行又完全独立的剧情，试验性的电影语言使其成为“边缘电影”中最具创造力的作品之一，在其诞生22年之后，巴西重拍了这部经典地下电影的彩色版，但重拍版却完全失去了原版的影像光芒。

有三个朋友 Hilda, Matilda 和 Gaspar，周末，三个朋友Hilda, Matilda 和 Gaspar在意间市区破旧的公寓中相会，喝酒、聊天，一起度过了一段愉快的时光 ...

一个多愁善感的老女人和一个十几岁的男朋友。他们彼此喜欢，所以她和他谈论她自己，她的灵性，神秘主义和存在本身。他们变得形影不离，所以他嫉妒的母亲面对着她。

A serial killer kills blonde women's.

Starting with the screening of O Mandarim in 1996, Júlio Bressane became a regular at IFFR — one of its patron saints, one could even say, as many of his films were selected for later editions. In 2000, the festival honoured the cinema marginal paragon with one of the first comprehensive retrospectives on his work outside his native Brazil. It is, thus, more than fitting that Bressane’s extensive reflection on his six decades of filmmaking, The Long Voyage of the Yellow Bus, done in tandem with Rodrigo Lima, is one of IFFR 2023’s centrepieces!
For this behemoth, Bressane took his opera omnia and edited it in an order that first adheres to historical chronology but soon starts to move backwards and forward. The various pasts – the 60s, the 80s, the 2000s – comment on each other in a way that sheds light on Bressane’s themes and obsessions, which become increasingly apparent and finally, a whole idea of cinema reveals itself to the curious and patient viewer. Will Bressane, from now on, rework The Long Voyage of the Yellow Bus when he makes another film? Is this his latest beginning? Why not, for the eternally young master maverick seems to embark on a maiden voyage with each and every new film!
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A curious couple, whose existence takes place where art arises along a singular metaphysical desire. They search for it through repeated and varied representations, in a setting of light where hope and desperation blend together.

A delicate and tenacious writer, widowed three years ago, engages in frequent conversations with a parrot. However, she's always observed by a large portion of raw meat

Two women, long-time friends, embark on a love story. They are writers who do not write to publish but for themselves. Their mutual conversation, their desires, the risks and phantoms of existence, the privilege of the wounded and of condemnation, traverse their speech, are a confession.

巴西边缘电影早期的作品，Bressane一贯的实验性风格，混合黑色喜剧与超现实的布景，是部不错的片，但也许只是相对于那些习惯了看地下电影的观众来说吧。