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(1985, Terry Gilliam) As those endlessly coiling serpentine ducts proliferate – seemingly beyond the power of even Central Services to control – and the omnipresent information Service-policed towering city of the future ("somewhere in the 20th century"), studiously ambitious file clerk Sam Lowery (Jonathan Pryce) finds a – literal – flyspeck leading to apocalyptic bureaucratic foul-ups and a desperate search for the girl of his – literal – dreams. Python alumnus Terry (12 Monkeys, Fear & Loathing In Las Vegas) Gilliam's take on a decidedly low-tech 1984ish society is distinguished by creepily film noir ambiance, amid gargantuan fascist moderne architecture, sparked by samurai battles within airborne fantasy, all underscored by Pythonesque black humor and the endless variations on that hypnotic title tune. With Python Michael Palin at his most seriously slimy; Bob Hoskins as a ferocious repairman; Ian Holm (The Sweet Hereafter) and Ian Richardson as nervous and high powered (respectively) bureaucrats; and Robert De Niro as a heroic electrical engineer. Brazil was the occasion of a memorable studio-auteur battle, topped, topped by its designation as Best Picture of the Year by the L.A. Film Critics Circle before its premiere. Complete Uncut European Version. Approx. 142 min. 35mm.
“A retro–futuristic fantasy – a melancholy, joke-ridden view of the horribleness of where we are now and the worse horribleness of where we’re heading. It’s like a stoned, slapstick 1984: a nightmare comedy in which the comedy is just an aspect of the nightmarishness… Visually, it’s an original, bravura piece of movie making.”
– Pauline Kael
“A ferociously creative black comedy filled with wild tonal contrasts, swarming details, and unfettered visual invention—every shot carries a charge of surprise and delight.”
– Dave Kehr, Chicago Reader
“A willfully absurdist dystopian fable about an impossible future that feels more like an antiquated past, a Romantic pretzel-twisting of Orwell and a nursery-rhyme-inflected sci-fi dream epic that appropriates equal parts Fritz Lang, Hellzapoppin', Orson Welles, and illustrator Brian Froud. It remains a stunning achievement.”
– Michael Atskinson, Village Voice