Despite a few unfinished edges and missteps, there’s much to savor in Mancuso’s feature debut. In addition to the film’s romantic plot, Mancuso, who co-wrote the film with Dan Lagana, explores his own connection to Brazilian culture. He easily slips between speaking English and Portuguese on several occasions; even on a date, he saves room for his mother’s home cooked feijoada; bossa nova beats and samba dance moves are woven seamlessly into the film’s musical fabric, and in one hilarious sequence at a restaurant, he gulps several rounds of cachaça, perhaps the most in any American movie.

Mancuso also addresses some of the thornier sides to sticking so close to home, like how his mother Maria (played by Mancuso’s real mother) insists he settle down with another Brazilian girl. He also faces Haley’s parents’ ignorance about his country when they assume he speaks Spanish like their Central American housekeeper, and Rudy has to consider whether to correct them or let it slide to keep the peace. It’s likely that more than a few second and third generation children of immigrants will find something to relate to in Mancuso’s film, but at the same time, it feels so unique because of how rarely we see the Brazilian-American experience on screen.

That celebratory spirit extends to Mancuso’s relationship with scene-stealing co-star, his mom. Their dynamic in the film is even livelier than Rudy’s dates with Isabella, which feel more like a glowing idealized version of what could be, and Haley, the girlfriend whose goals and plans for the future no longer align with what our main character wants. He wonders about leaving his mother after college and is clearly very close with her despite her dismissal of his artistic pursuits and disapproval of his dating choices, which may sound like familiar feedback from some of our own parents.

Over the credits, Mancuso’s childhood photos unfold alongside the names and titles of the cast and crew, making “Música” feel as much of a love letter to her as it is to the music that inspires him and the culture that shaped him. Right to the end, “Música” becomes more than just another bland romcom. It’s about finding love when living with a disability, it’s about finding music wherever it may be, and it’s about our connection to our culture and our family.

The launching pad for Bertrand Bonello’s new picture “The Beast” (“La Bete”) is a 1903 short story by Henry James called “The Beast in the Jungle.” Seen by some James scholars as an autobiographical expression of rue for a life of inaction, it treats the case of John Marcher, who confides in his acquaintance May Bartram that he lives in fear of an unnamable catastrophe that could upend his life, and the life of anyone close to him. She claims to get what he’s talking about.

And so May does. And Marcher’s fear translates into a passivity that compels him to hold May at arm’s length for the rest of his life. At the end of the story, he mourns a love he never allowed himself to have and understands that the catastrophe was his own fear.


https://github.com/moveek-fhd/-xem_phimm-i-v-y-h-m-4-2024-full-hd-vietsub-4k-

https://github.com/moveek-fhd/-xem_phimm-i-m-a-h-p-nh-t-2024-full-hd-vietsub-4k-

https://pastelink.net/tb1u5okw

https://foro.ribbon.es/topic/9611/turtles-all-the-way-down-is-the-newest-page-to-screen

https://wandering.flarum.cloud/d/80109-the-proximity-were-given-to-her-inner-dialogue-through-merceds

https://forum.freeflarum.com/d/87099-marks-turtles-all-the-way-down-shines-with-john-greens

https://herbalmeds-forum.biolife.com.my/d/97880-what-a-situation-the-instability-of-it-keeps-challengers

https://forum.instube.com/d/106065-all-three-lead-actors-carry-themselves-like-movie-stars-guadagnino

https://www.tadalive.com/forum/thread/43724/this-movie-doesn%e2%80%99t-have-a-philosophical-or-understated-moment/