A Festa da Menina Morta

Matheus Nachtergaele is known as a superb and a most complete actor, and now as he sits behind the cameras in his directorial debut, a good feeling comes out of this experience: we want more! Definitely, the film has some highs and lows, but overall he delivers the message and still wets our appetite for he chooses an excellent story and the perfect landscape that mixes perfectly all plurality of Brazilian's multicultural backgrounds. The images blend water and oil magically; however, one might feel that there could be some exaggerations in some of the acting, and some long pauses in the script, which might slow things down in very few moments. In sum, I believe to be a great debut, and this new director deserves all possible attention now, and I hope, in a brief future as well. Beautiful work Matheus!

The Dead Girl's Feast (A Festa da Menina Morta) is a bold and unsettling debut feature from Matheus Nachtergaele that immerses viewers in the heart of the Amazon to explore the intricate interplay between belief, trauma, and manipulation.

Set in a remote riverside community, the film centers on Santinho, a young man revered as a saint after a supposed miracle following his mother's tragic death. Over two decades, this event evolves into an annual religious festival, drawing pilgrims and transforming the town into a hub of fervent devotion and exploitation.

Nachtergaele crafts a narrative that delves deep into the human psyche, examining how communities can construct and cling to faith amidst despair. The film's atmosphere is dense and immersive, with Lula Carvalho's cinematography capturing the lush yet oppressive environment, and the sound design amplifying the sense of unease.

Daniel de Oliveira delivers a compelling performance as Santinho, embodying the character's vulnerability and the weight of imposed sanctity. The supporting cast, including Juliano Cazarré and Cássia Kis, adds depth to the portrayal of a community ensnared by its own myths and desires.

The Dead Girl's Feast is not a conventional tale of sainthood but a provocative exploration of the human need for meaning and the lengths to which people will go to find it. It's a challenging, thought-provoking film that lingers long after the credits roll.

Brazilian film industry keeps selling the same sort of movies. Is this disturbing and brutal perspective becoming the new face of Brazilian movies? Hope not. When I first heard about this film directed by a fantastic actor I thought that it'd be absolutely innovating. But I'm afraid that is not true. The brutality brought in makes it very hard to stand. That's why it reminds me of Claudio Assis. And that is why it is quite disappointing. Oliveira plays a tricky character and now and then commits a few acting mistakes. Furthermore the mix of hopelessness and violence does not match the beautiful film location at all! Brazil doesn't always have to be shown in a mystical, raw and tough way. I think we've had enough of these dark impressions. Salute.

I am seldom attracted to film aspiring to Academy Awards, as the biopics of Margaret Thatcher and J. Edgar Hoover; the retro-dramas on black servants, French orphans and stars of silent films; hurt lockers or kings' speeches. I prefer smaller, simpler films as the Dardennes' "Le gamin au vélo", maybe an Iranian title or even zombie Otto's dilemmas (although Bruce LaBruce insists on being lewd when his ideas are more than substantial). Last night I saw "A Festa da Menina Morta", a film I had never heard of, that I liked a lot, and that is the first work by actor Matheus Nachtergaele, who has demonstrated his acting talent in films as "Amarelo Manga", "Arido Movie", "Cidade de Deus" and "Central do Brasil". Maybe it was his gift what helped him obtain remarkable performances from his cast, and not only from professionals as Daniel de Oliveira and Cássia Kiss, but from the natural actors he directed. A reflection on people's mysticism, racism and a material and spiritual misery that films seldom risk to show, "The Dead Girl's Feast" reveals sordid anecdotes of the relationships between the leading characters, behind the magical thoughts that inspire a town in the middle of the Amazonian jungle. The story is simple: in the home town of the Dead Girl, people are about to celebrate the twentieth anniversary of her cult, directed and conducted by "O Santo" or the Saint (Oliveira), a young, self-worshiping homosexual, with a volcanic temper, and an emotional life that includes a marital, sexual-active life with his father and vague memories of his Caucasian mother. Close to him and his alcoholic, roguish father, are the devout women that keep the cult alive, and Tadeu (Juliano Cazarré), the Dead Girl's brother, who has lost his faith and begun to question the cult and the Saint. During the night of the feast, tensions and violent emotions grow, and an unexpected visit arrives, leading the story to a denouement in which the Saint's annual message to the devotees is an echo of his personal drama. Although the violence surrounding the story can erupt in any moment, one perceives Nachtergaele's affection for the characters, their customs and the story, an affection that moves the film away from manifestations of the so-called "porno-misery" that could have been generated. Nachtergaele had full control, opting for ethnographic observation that sometimes reduce dramatic action to a minimum, with fine support from cinematographer Lula Carvalho. Highly recommended.

I watched the Brazilian film "A Festa da Menina morta" by Matheus Nachtergaele 2008. Stories from remote areas of Brasil, where people are offering animal sacrifices to local gods. One rural schizophrenic and homosexual, declared as a Saint. All the action takes place in preparation for the festival to celebrate the " Dead Girls Day ". In that village is a lot of drunkard and mental disturbed people. Film is quite noir.