cinema no pátio: happy as lazarus, by alice rohwacher

It is not about the telluric force of the mountains or zombie attacks, but perhaps about something else: ways that cinema finds to represent something that is felt, beyond what the senses apprehend. This year’s Cinema no Pátio presents four proposals that are, torn between the natural and the metaphors, between landscape and revelations. February (Kamen Kalev, 2021) tells us about the poetics of time and rituals in time; Memoria (Apichatpong Weerasethakul, 2022), of the unfathomable mysteries of existence (where the spectator becomes a listener); Happy as Lazarus (Alice Rohrwacher, 2018) of isolation, kindness and exploitation; and Thirty Souls (Diana Toucedo, 2019), of oblivion and death as a passage.
por eduardo brito

happy as lazarus
alice rohrwacher · italy, switzerland, france, germany · 2018 · drama · 127’ · m/12
with adriano tardiolo, agnes graziani, luca chikovani, alba rohrwacher e sergi lópez

Lazarus, a young peasant, is so kind he is often mistaken for a fool. He meets Tancredi, a young nobleman cursed by his imagination. But life in the isolated rural village of Inviolata is dominated by the terrible Marquise Alfonsina de Luna, the queen of cigarettes. Tancredi asks Lazarus to help him orchestrate his own kidnapping and a bond of loyalty between the two gets sealed. This strange and unlikely alliance becomes a friendship so precious that it will travel back in time and lead Lazarus into the city on Tancredi’s trail. For the first time in the big city, Lazarus is like a fragment of the past lost in the modern world.