Blindness (2008)
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Society is analysed from the perspective of Meirelles, who sees the path laid out in Blindness with insight and success, and does so with success, talent and a pulse worthy of the best.
From the professional critics, I picked out a sentence that caught my attention, which states that the Brazilian doesn't even scratch the surface of Saramago's novel, but without having read it, I would say that, in my opinion, it doesn't matter at all. ,
As Meirelles throws the most controversial issues onto the screen, he tests the morals and attitudes of some of the characters, and charts a wonderful story where there are no good or bad, no mad or sane, just people who are trying. to protect themselves from the world they know but fear because they have never felt this way, because their possibilities have never been diminished in this way.
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Blindness begins with the first few minutes of pure cinema, in which we step into the shoes of Meirelles' successful director, allowing us to enter a world where the prevailing dark chaos has not yet begun to reign, a place where darkness reigns supreme.
We can still see the whiteness within the blackness, the universal whiteness of this blindness that undermines the possibility of all the characters except Julianne Moore.
In him, the fears and anxieties of being trapped in that small microcosm are reflected in ways never seen before.
Not only is she unable to control a situation that overtakes and overwhelms her, but she cannot even feel complicit with her own husband, whom she has loved for so long and is now out of touch.
Because they did not speak the same language, and because she was afraid, afraid, away from the person she loved most.
Having drawn the line within which his characters will move, the director finally unleashes the whirlwind and chaos, subjecting his characters to the cruel and tyrannical whims of a few people who had the upper hand: a gun in the midst of all the chaos and cooperation, a man who already knew what ground he was working on, a man blind from birth.
From here on, the once bright white silhouettes and huge, luminous paintings become dark, littered corridors where an almost absolute anarchy seems to reign, always under the yoke of the dominant group determined to take absolute control.
Like everything else, this movement finally inspires respect and begins with the contemplation of the limits of honesty and human morality, until the unexpected end of the film, where the slightest glimmer of hope seems to disappear.
A film in which white is superimposed on black and the spectator understands that he wants to go further. Because vision is the last vestige of human sanity.
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