![]() He will be the first to claim that he has a gay sensibility. The end product is precise, engineered, its structure as apparent as that of a Bauhaus building. A ïnouz becomes heavily didactic when speaking about the importance of his characters’ sexuality, however it manifests itself. I’m not being glib or pretentious claiming that his films are incredibly architectonic. He originally studied architecture, as did I. He may travel back and forth to his country of origin, but the foreign as base is de rigueur. Whether stigma or honorific, outsider status allow him to view his own society as if it were in a fishbowl. At the same time, he is constructively diplomatic, a reasonably flexible negotiator in his frequent writing (and even directing) collaborations.Īn openly gay Brazilian of Algerian Berber descent from a provincial town, A ïnouz thrives in the part of the marginal, having lived for seven years in New York - where he began his career working for Todd Haynes - and for the past decade, residing in Germany. He obsessively carries through a vision, and is one of the few intellectuals in the film industry who thoroughly enjoys the interview process of dissecting his art and justifying his decisions. This man, however, is granted a dispensation for cockiness. The soft arrogance with which he delivers it, however, defines him more than would a summary bio or a litany of his filmography’s titles ( Love for Sale, Madame Sata, The Silver Cliff). Italics mine: the polite, affable filmmaker would never himself put his speech in itals. ![]() Maybe it was excessive, but I don’t care.” ![]() “That’s the song that actually started Futuro Beach for me. I’ve just noted the few jabs he’s taken for ending his vibrant new film with the arguably overused Bowie anthem. “How could I do the movie without that song?” Brazilian director Karim A ïnouz asks rhetorically. Like the dolphins, like dolphins can swim I, I wish you could swim I, I wish you could swim Clemens Schick, Futuro Beach, Karim Ainouz, Wagner Moura
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