7 x 45 min.
Also known as Most Beautiful Thing, and it definitely is pretty to look at. With it being centered around a musical café it’s not bad to listen to either.
But what’s going on? A Brazilian housewife in the fifties follows her husband from Sao Paulo to Rio de Janeiro only to discover he disappeared with all her money, leaving her indebted and without direction. Now what? Her image destroyed, her bank account empty, time to find a new husband!
Except she doesn’t want to. They had dreams of starting a restaurant, now she decides on starting a jazz club. As a naive little housewife there are plenty of things she has to learn while working against sexism, the previous mentioned debts and her parents. Good thing there are female friends that suffer (in other ways) along with her.
And all that in beautiful, bright surroundings (are so many shows and films so dark these days or is it just my screen settings?) that add a little bit extra to the trope of ‘woman recognises her worth and comes into her own’. Oh and yes, it’s in Portuguese, so you might have to get used to the idea of reading subtitles.
Coisa Mais Linda, Netflix 2019
This school year they’ve upped the To Read ante: eight books and four short stories. After having read the eight books in the past three weeks, I can say the following: so called classics are hella depressing and the themes are all the same: love, aggression, money. With ‘class’ being a good runner up.
Which ones did I read?
- The Great Gatsby
- Great Expectations
- A Clockwork Orange
- The Handmaid’s Tale
- The Importance of Being Earnest
- A Streetcar Named Desire
And the short stories:
- The cask of Amontillado
The Force of Circumstance
A Room of One’s Own (chapter 3)
The Garden party
Which ones did I like? Well, about that. Reading the lot of them in one go really drives how similar they are. A Clockwork Orange is much more violent than the others, but it’s all about unhappy people – usually men – in a world that isn’t all that either. The comedies were a breath of fresh air, and Othello wins for most well-meaning but utterly naive protagonist.
All the short stories seemed to have in common was superficiality (and some unhappy men). I’m glad Victoria Woolf didn’t disappoint, although it was frustrating to see how recognisable her thoughts and issues (from almost a century ago) are.
I have yet to discuss these in a school setting, so who knows which insights might still follow, but for now? We need new classics.
For months he was just a number to her: she counted his dirties, he dropped them in the bucket, she recorded the number on the clipboard, and he moved down the line.
Some stories aren’t pleasant to read, but so compelling that you don’t want to give up on them ether. Mona isn’t easy to love or follow, even though it could have been with such a mercy- and pity-inducing history.
Mona is a twenty-something with a bad youth and/or possibly some mental illnesses. There are clear symptoms, but there’s also the consideration of how much comes from her background. She cleans houses for a living, even though her aunt and her sort-of-boyfriend tell her that she should change things, start living. Develop.
But that’s not easy, especially when you’re not exactly willing to do so. Mona’s got a lot of thoughts, maybe too many, and the author doesn’t let the reader off easy. This is an annoying, disgusting, frightening protagonist that might make you feel more empathetic to those neurotically atypical, but that doesn’t mean there’s nothing annoying either.
Pretend I’m Dead doesn’t give answers, it just shows. I didn’t find the ‘laugh-out-loud funny’ a blurb claims, but I did want to stick around. Maybe in some way, Mona will notice.
Pretend I’m Dead, Jean Beagin, Oneworld 2018
13 x 30 minutes
For someone who doesn’t have children, nor wants them, The Letdown has plenty recognisable situations that make you think that mothers aren’t a completely different species (yes, I know!).
In this Australian show the viewer follows around different (new) mums from different backgrounds and in different surroundings. But even though they are introduced through a mum-related event, the show doesn’t turn them solely into ‘mothers’. Children have upended the lives of these women (and their partners), and that’s where the relatable part comes in.
Even when these women are in different times in their lives, they all struggle (more or less) with romance, health, personal time, family etc. It’s small things, frustrating things, and sometimes so secondhand embarrassing that it’s hard not to look away. Please, just admit that you were wrong, right or uncomfortable, aren’t you too old for such behaviour come on.
I guess not, and that’s also what elicits chuckles besides rolling eyes. Good thing you can’t blame children or partners on bad decisions, no matter how old you are. There’s plenty of us that do so, and it’s nice to see that.
The Letdown, Netflix 2017