Before Boi Neon/Neon Bull (2015), Brazilian narrative filmmaker, documentarian and visual artist Gabriel Mascaro directed Ventos de Agosto/August Winds (2014), described by Variety as an “atmospheric, meditative drama” and currently available on US Netflix. The film relies on a strategy of conspicuous fragmentation, both of the human body and of scenes. It joins other Latin American films in making use of what I’ve called a fragmentist style (here and here). Enjoy the following compositions of the day!
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In this shot, one of the film’s protagonists, Shirley, played by actress Dandara de Morais, is shown dining alone in her modest abode (fig. 1).
Shirley’s lover, Jeison (non-professional actor Geova Manoel dos Santos), a worker on a coconut plantation, is shot from a similar angle, only now with a camera farther back (Mascaro often favors telephoto compositions, picking out bodies from a distance) and with an emphasis placed on the trunk of his body (fig. 2).
Later Shirley is shown seated on the tire of her tractor (fig. 3).
One final example–as Shirley lovingly combs the hair of her grandmother (Maria Salvino dos Santos) (fig. 4).