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Why do we criticize Suzane Von Richthofen’s feature film, but we love American crime films?



Yesterday, Galeria Distribuidora released a clip from the films “The Girl Who Killed My Parents” and “The Boy Who Killed My Parents”, which features actress Carla Diaz as Suzane von Richthofen.

Suzane Von Richthofen rose to world fame after orchestrating the brutal murder of her parents. It won’t be long before her story hits Brazilian theaters – and that promise was kept with the announcement of something unprecedented in the entertainment industry: ‘The Girl Who Killed My Parents’ and “ The Boy Who Killed My Parents ” will arrive across the country with the same story, but with different perspectives (one with Suzane’s version and the other with ex-boyfriend Daniel Cravinhos) .

However, a wave of repudiation of the two feature films has gripped social media indescribably – some netizens condemning the very idea of ​​bringing such a story to the big screen, others asking the President of the Republic to veto unconstitutionally. the financing of a film of this type.

Despite the “Good Samaritan” syndrome embodied strongly by people like those mentioned above, all is false moralism and something that goes far beyond justifiable repudiation: the mestizo complex.

Created by playwright, columnist and journalist Nelson Rodrigues in the middle of the last century, the phrase emerged during the 1950 World Cup, when Brazil was disqualified while playing at home and continued to perform poorly. in the following championships as if “it was afraid to impose itself on the adversaries” (via Digital Monitor). In a broad sense, this complex reflects the low self-esteem of Brazilians who, in response to a constant “tremelic”, belittle their own culture, intelligence, economy and even morals.

And make no mistake: even though it was paved decades ago, national Latinism demands foreign acceptance and thrives on a ridiculously reprehensible sense of self-pity – disguised, of course, as imperialist pedantry. which dates back to colonial times. In other words, we need first world states (like European nations, and especially the United States) to constantly tell us that we are enough and that we are worshiped. In an internal and personal sphere, harsh criticism is much more common than a simple compliment and the necessary recognition of the country’s importance to world culture.

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This is not just limited to intangible heritage, but, as already mentioned, it extends to the promotion and support of national entertainment – whether in series, films or soap operas. Taking the example of “ The Girl Who Killed Her Parents, ” it seems incredible to note that in the second decade of the 21st century, ethical hypocrisy is imperative and uses unusual and refutable arguments to make a point. silly sight.

After all, great drama and thriller films (several of them including the winners of several high-caliber awards) focus on analyzing the human psyche and the correlation between pathology and psychosis. That is, working on serial killers who are not only acclaimed abroad, but also here. We have, for example, “Se7en – The Seven Capital Crimes” and “Zodiac”, two feature films that still serve as inspiration for tales of mystery and murder, directed by master David Fincher; the classic “The Silence of the Lambs”, which won Anthony Hopkins and Jodie Foster their respective Oscar statuettes; “The Chainsaw Massacre”, whose waste legacy is constantly revisited by devotees of the 1970s and 1980s; “Ted Bundy – The Irresistible Face of Evil,” based on the true story of a murderer who quartered more than 30 people; and even “The Alienist”, which presents a New York version of the famous serial killer Jack the Ripper.

And what do all of these productions have in common? Well, the fact that they were acclaimed by the Brazilian public and that they were made in countries other than ours. So why can’t we raise our own flag, as many false patriots say day in and day out, and give national cinema a chance to develop?

Such questioning does not have a single answer, but it clarifies one thing: the bastard syndrome has never been so strongly anchored in our values.

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