90 NW 29th Street Miami, FL
DetailsGeneral Admission $9.00.
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BiZz-R-O Cinema Presents: BRAZIL
Sam Lowry is a lowly, unambitious bureaucrat working in the Records Department in an authoritarian society “somewhere in the Twentieth century” who frequently dreams he is a winged man fighting a giant robotic samurai to save a beautiful woman. An error results in the government picking up a Mr. Buttle as a suspected terrorist instead of a Mr. Tuttle; Buttle dies during interrogation. Sam visits Buttle’s widow to deliver a refund check for her dead husband, and finds that the upstairs neighbor, Jill, looks exactly like his dream woman; he transfers to the “Information Retrieval” Department to access Jill’s personal files and learn more about her, but ends up running afoul of powerful government interests.
Terry Gilliam explained his vision for the milieu he molds in BRAZIL as one that’s “very much like our world” but “just off by five degrees.” He was shooting for an atmosphere that’s uncannily familiar, something just strange enough to shock the viewer while still highlighting the absurdities of modern existence. Watching BRAZIL’s many surreal touches—as when what appears to be a giant boozing tramp peers over a horizon dominated by cooling towers painted sky blue with white clouds—most viewers will conclude Gilliam overshot the five degrees at which he was aiming. But in the unlikely event the rest of the film isn’t strange enough for you, wait for the finale in which Gilliam pulls out reality’s remaining stops.
80's BizZ-r-O Cinema Cult Classic Dark Comedy Drama Fantasy Politics Sci-Fi
“A superb example of the power of comedy to underscore serious ideas, even solemn ones.” – New York Times
“This modern cult classic is a triumphantly dark comedy directed by one of the film world’s truly original visionaries, Terry Gilliam. “Imagination” is this futuristic film’s middle name.” – Austin Chronicle
“There is not a more daft, more original or haunting vision to be seen on American movie screens this year… A terrific movie has escaped the asylum without a lobotomy. The good guys, the few directors itching to make films away from the assembly line, won one for a change.” – Time
“It remains a stunning achievement, if nearly as exhausting and frustrating as the Tex Avery bureaucracy it roasts, but Gilliam’s stylistic dysfunctionalities, art-directed out of junkyards, are what still percolate in the forebrain.” – Village Voice