Dir.: Armando Fonseca e Kapel Furman
The first 6 minutes of Skull: The Mask are exhilarating, and already throw into your face what the movie came for: magical elements subtly introduced, much blood, fun gore, and well-directed action sequences. Nazis practicing rituals of black magic while exiled in Brazil are just the cherry on top.
There are films that try and emulate Hollywoodian formulas to shoot high and see if they land. Skull definetely isn’t one of those, although it’s not hard comparing it to American slasher classics.
Bearing outstanding aethetics and cinematography, this horror-action thriller has a bit of ‘something’ that’s deeply Brazilian. From its detailed set pieces and authentic costumes to its contemporary social commentaries and usage of Brazilian indigenous myths; besides the guts to depict police and megacorporations that only indie films seem able to have.
But “indie” isn’t something you’ll have in mind while watching the scenes of combat and killing sprees, where the Mask raises its name to the likes of Jason Voorhees and Leatherface. An unique concept and style, and fantastic make-up work, brought to life by actor Rurik Jr.
Great performances by Wilton Andrade and Natallia Rodrigues also elevate the endevor, which — we agree — might as well represent a milestone and a future genre classic, where directors Armando Fonseca and Kapel Furman explore new grounds of Brazilian cinema.
Special mention to all the terrible and chilling scenes of Tahaw on his throne, and the extraordinaire creature designs.
And also for escaping the cliché of the Conthinans bandit, since this time the assassin is a Palmeiras fan. 🦉
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