Watch Killed the Family and Went to the Movies For Free

Save your money for something good and enjoyable

At first rather annoying in its heavy emphasis on reenactments, this movie ultimately proves fascinating, simply because the complicated, highly dramatic tale it tells still almost defies belief.

if their story seems completely bonkers, almost like a feverish work of fiction, you ain't heard nothing yet.

By the time the dramatic fireworks start popping off, each one feels earned.

... Why do I think so good this movie? I don't know.I know only I was fourteen... fifteen, when I watched it.Think! I was young and saw Claudia in all "glory" of her.Unforgettable... I almost "died" that night.Very attractive woman. Powerful.And when she and Louise... when they makes that skin-to-skin contact... OMG! I was just a boy. Tense situation. The biggest.Hmm?... Doubtful screenplay? Maybe.Doesn't Brazilian "pornochanchada" deserves respect? Probably.Do you will never watch a movie with Mr. Frota? OK, I concur.But some thing happens just who lived can understand. ;-) ...

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 István 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. I don't give it the highest grade because only God deserves a ten.

In Rio de Janeiro, after an altercation with his father and mother, the young man Bebeto (Alexandre Frota) kills his family and goes to the movie theater. He impassively watches four weird short stories. The first one is about a wealthy woman, Márcia (Claudia Raia), bored with her marriage, who decides to spend alone a couple of days in her house in Petrópolis. When her best friend Renata (Louise Cardoso) unexpectedly arrives to stay with her, they get drunk and a tragedy is announced. The second one is about a looser that arrives home upset and drunk and kills his family. The third one is about a tragic lesbian repressed relationship. The last one is about a man addicted in stealing women's underwear."Matou a Família e Foi ao Cinema" is a remake of a Brazilian underground classic of 1967 of Júlio Bressane with the same title. I have never had the chance to watch the original version, but the 1991 is very irregular, having some good points, but also very weak and silly parts, like for example the man addicted in stealing women's underwear. Another negative aspect is the indecision of Neville de Almeida between a heavy drama or a dark humor. In the end, none of the foregoing genres works well. The movie explores too much the body of Claudia Raia, who was in evidence in 1991. In 2005, we see that she was indeed too fat and with cellulite for the present standards of beauty and aesthetic. My vote is five.Title (Brazil): "Matou a Família e Foi ao Cinema" ("Killed the Family and Went to the Movie Theater")

If you live in Brazil (or neighboring country) as I do, DON'T be surprised when you see a video cover with body parts of three (two girls and a guy) sexy twentyish hunks juxtaposed on a newspaper front page. Its headline is the movie's title: HE KILLED HIS FAMILY AND WENT TO THE MOVIES. Upon closer inspection, don't be further surprised that the threesome is comprised of the late 80's early 90's Brazilian male model-turned-actor Alexandre Frota (often shown on "all five" on a carpet), his then-girlfriend- the vuluptuous former ballet dancer (with a body to prove it) TV star Claudia Raia, and also sexy twentysh comedienne Louise Cardoso. Well, those would be the familiar elements, if somewhat racy, still within the realm of most people's universes. However, rent the movie and watch what's going on. THIS IS NO SOFT PORN. It's mainstream entertainment with some of Brazil's major stars, directed by one of the country's greatest. It never even caused a stir when it was released........Nevertheless, unless you find Pasolini's Salom old hat, you are in for a surprise. What you see on film surpasses even the wildest fantasies of a "debauched" Chilean or Argentine. This film definitely proves why this segment of Brazilian society is so notorious for "debauchery." Now I always thought debauchery was such a Victorian cliche, and still do, though things like this movie remind me it has a vague meaning. It's unbelievable that Brazil is surrounded by traditional societies where in most cases, divorce and sodomy are still criminalized (and recently reaffirmed in the case of divorce and homosexuality in Chile). Scenes in this Brazilian mainstream production couldn't even be imagined by most of its neighboring countries, forget about judging them. They are truly unheard of. First, the basic sexual and hormonal instinct which triggers everything in this film (and in this perhaps mythical segment of the Brazilian population)is shockingly different. Secondly, the normalcy surrounding the antics of two nude (wearing only very high heels) young girl friends, purportedly heterosexual, is chilling. But their fetishes are so outlandish, labels like heterosexual are useless boundaries. Their antics are a hoot. The movie is made up of five vignettes. It's worth renting, even if you speak no Portuguese, for the visuals of two of the vignettes. It is really unusual. And viewing them is essential to understanding that Brazil, morally and sexually, is a country that does not belong in the Americas. Worth a peek.