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Well, Bacurau is from 2019 , in many ways, the brazilian Parasite, and much superior to Tropa de Elite. A really modern version of the old Cangaço movies, some sort of hymn to Euclides da Cunha most famous quote (O sertanejo antes de tudo é um forte, despite this being far from his mais idea) and a big tribalist movie and reversal of the traditional "the natives are hollywood monsters".

Of course, that hasn't been the rule for many decades, beginning already in the early 1950s with Devil's Doorway, Run of the Arrow, and so on.
 

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And Raiders of the lost Ark, Turistas, those ELi Roth Hostel movies or the whole hysterial when the World Cup and Olympic Games were hosted here about how everyone would end killed/raped/eaten by brazil canibal carnaval dancers or get every single disease in the map?
 

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American Natives? For every Raiders, there is a temple of doom and shiva worshipers indians.
 

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Hollywood has mostly delt with North American natives, of course, and they've overwhelmingly been the good guys, proud and/or victimized, certainly not monsters... of course the 70s with Soldier Blue, Little Big Man, Ulzana's Raid, The Outlaw Josey Wales, 1990s Dances with Wolves and Dead Man, recently The Revenant and Hostiles. You also have Aussie Westerns with aboriginees, Sweet Country, The Proposition. Vietnam films have some "natives", more often the Americans will be monsters. And of course, the those Jones movies are 35-40 years old, would hardly be made like that today.

The Ballad of Buster Scruggs may actually be the most "problematic" with Native Americans since the 1950s, but they have sort of a meta-layer excuse, I guess.
 

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Yeah same here.

The most interesting part with 1917 is how it manipulates space and time. One continuous shot and camera follows the main character all the time...and yet it's clear that he can't actually cover such long distances in such a relatively short time. But you can't really tell how they screw with your perception as all movement seems "realistic". It was especially apparent in this early scene when they came out of the forest and stood at the edge of this huge field and then crossed the field and reached the farm...really quickly if you think about it, like in 3-4 minutes tops. IRL it would take at least 2-3x that time. And yet it all seemed natural.
Yep, at times it definitely had that video game speed feel to it.

There were some impressive passages, but overall I found the one-shot gimmick a bit pointless, really, even more so than in Birdman (it made some sense in Russian Ark). Also, there were contrivances such as the sudden dogfight and plane crash to break what otherwise might have been a "dead" period with no action, or when Mark Strong suddenly shows up with his platoon (followed by a fairly obvious cut, btw, when they emerge on the other side of the farmhouse). The river rafting reminded me a bit of The Revenant.. In fact, both are examples of this sort of pentathlon endurance test cinema.
Wasn't particularly fan of those two scenes. Distant chatter or some noise of approaching soldiers would have hidden that scene well imo. I guess the same thing could have been said about the dogfight long before you actually get to see the planes. Both felt way too sudden like you said. The scene that bothered me the most though was the tripwire one. I mean in such a close proximity and confined space, the guy left pretty much unscathed.
 
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