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Who are u calling gay?

lAllN lllRIl l l l: MAN(M=THEYEAR (15) 112min 0000

When young Brazilian dude Maiquel guns down a local hood in anger (the hood called his new bleached blonde hairdo ‘gay’), his working class Rio community hails him as a hero. At first the none-too-bright Maiquel hides in fear of revenge, unable to understand why he‘s suddenly become so popular with everyone (including the police). Soon, however, he’s enjoying the free gifts delivered to his doorstep, the dental treatment he no longer need pay for; hell, he even gets the dead man’s sexy young girlfriend when she arrives unannounced and takes up residence. When a group of local businessmen - dentist included - ask Maiquel to start relieving the community of other undesirables, he hires a few pals, sets himself up in the security business and begins laying down the law. From man of the year to murdering bastard in no time at all.

Comparisons are already being made between Jose Enrique Fonseca’s film and that other Latin thriller, City of God. Man of the Year doesn’t have the narrative scope nor funky pace of that film, but it shares a hyper- realistic visual style, crunching gear changes between humour and violence and pure entertainment cut through with social commentary. And in the lead, Murilo Benicio convinces as the confused, bemused and abused Maiquel. (Miles Fielder)

I Se/ecr'er.“ release from Fri l2 Set).


French actor turned documentary trlmrriakm Jacques Perr'in employs a blend of modern technology and artistic inspiration to give us a unique, intimate insight into the lives of irrigratory “HUS. Using ingeniously (‘lesigned carrieras rigged to a variety of flying machines. the film allows the audience to take wing. We fly alongside cranes. ducks and wading birds as they fly between their summer breeding grounds and over \‘JIntering habitats. otten more than 1:300 miles apart.

At its best, ll/rngeo' Ail/grat/on achiey es a leyel of y'iSual abstraction on a par mth Godfrey Reggio‘s 1983 an ant garde eco~opus Koraanrsoatsr. Star'lings wheel and swoop. we stare directly into the eye of a goose and carrier'as :oon‘ out to r‘ey eal agile rock- hopber penguins.

In these transcendent mon‘ents. a lascmation ‘.‘.’|Ill patterns. colOur' and light suggests an aspiration not so

High flying adored

rr‘uch to scientific accuracy as to pure aesthetic beauty; It is sad. therefore. that the director chose to lll‘lXXSil‘ son‘e tolky. Sub-Eny a songs and a sill, story about a young boy who rereases a goose trapped by some rr‘an-made nylon r‘ettrng Because fo' the West part, Perrrn's filrr‘ is a riiesmerisrng; celebratrcri of long-distance flight. Nigel Floyd; I GFT. G:;i$g<)t‘.p' Fr 'Y‘NOu‘Sf}.

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F'LdiifiNdili/Esos (PG) 118mm .000

:: 1' : 2' .1 ' The transience of human lives

oifi‘ziEiv'i‘ré‘noicr (15) 98min 0

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