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Djon Africa Free online. Djon africa free online streaming. Djon Africa free online games. Djon africa free online banking. Easy-goin' Portuguese tale pours fresh grog into old bottles. Miguel Moreira stars as the eponymous hero of Joao Miller Guerra and Filipa Reis' fiction-feature debut, world premiering in competition at the Netherlands event. Cinema will seemingly never run out of stories in which sons go in search of their missing/lost fathers, but if the results were always as charming as Joao Miller Guerra and Filipa Reis' ambling picaresque Djon Africa, few audiences would complain. Written by Pedro Pinho, currently riding high on the film-festival circuit with The Nothing Factory, this co-production between Portugal and its former colonies Cape Verde and Brazil was one of the more notable world premieres at Rotterdam this year. Accessible and atmospheric, built around an engaging performance by Miguel Moreira as the eponymous "Djon, " it should parlay a Tiger-competition slot at the long-running Dutch fest into further exposure at smaller events over the next year. "Djon Africa" is in fact just one nickname adopted by a fellow baptized "Miguel" in honor of his dad, but who grew up in Lisbon chiefly under the care of his grandmother. Following a chance encounter with a stranger, the easygoing Miguel/Djon/Tibars — a Rastafarian who is laid-back on the verge of horizontal — asks his granny about his dad ("a bit of a player and a scoundrel"). Coming into a little money unexpectedly, he decides to go in search of the estranged parent in the latter's native Cape Verde islands off the African coast. The bulk of the action unfolds in this windswept, colorful archipelago, whose atmosphere is a world away from the gray, bland Lisbon suburb which constitutes our hero's 'hood. As the words of a rap tune in the opening moments promises, we "feel his ground and the weather of his country. " We see the towns and rural areas of Cape Verde through this outsider's receptive eyes ("It's obvious you're not from here, " he's told shortly after arriving) as he conducts the quest in a halting, sometimes half-hearted manner. The search is essentially a pretext by which this habitual drifter, who hasn't quite made the full transition to responsible adulthood, can subconsciously move forward into a new maturity. The wispy narrative likewise exists as an excuse for "Djon" to meet various vivid locals along the way, in a film which draws upon non-pro talent with tact and empathy — veteran goat-farmer Maria Antonia, who impulsively recruits the visitor to work on her land, is a particular scene-stealer. And while on paper Djon Africa suggests echoes of Portugal's austere auteur Pedro Costa (whose work often deals with Cape Verdean history and migrations), and even the Caribbean's current cinephile favorite Cocote by Nelson Carlo De Los Santos Arias, the picture actually operates at the more mainstream end of the current art house scene. Previously best known for documentaries and shorts, plus 2012 mid-lengther Cat's Cradle, professional/personal couple Miller Guerra and Reis take their stylistic cues from their happy-go-lucky main character. Deploying hand-held camerawork, they unobtrusively conjure and largely manage to maintain a pleasant mood of seductive sensuality. Switching from his usual cannabis to Cape Verde's firewater liquor "grogue, " the intoxicated Djon gradually loses his bearings in the second half of the film, which itself succumbs to occasional waywardness and longueurs — and even the odd ill-advised experimental touch — on the way to a neatly ironic coda back home in Lisbon. Production companies: Terratrema Filmes, Desvia Filmes, Oll, Uma Pedra no Sapato Cast: Miguel Moreira, Isabel Cardoso Directors: Joao Miller Guerra, Filipa Reis Screenwriter: Pedro Pinho Producers: Rachel Ellis, Joao Miller Guerra, Samira Pereira, Pedro Pinho, Filipa Reis Cinematographer: Vasco Viana Editors: Ricardo Pretti, Eduardo Serrano Venue: International Film Festival Rotterdam (Tiger Competition) Sales: Terratreme Films, Lisbon In Portuguese 99 minutes.
T here’s a charming, easy swing to this docu-fiction feature from documentary film-makers João Miller Guerra and Filipa Reis. It has a warmth and openness as it follows its nose across the landscape, building episodic encounters with nonprofessional local people into what could be called a quest narrative. Ruminating valuably on the nature of cultural belonging and exclusion, it’s amiably laid-back, though I have to confess I felt that a bit more storytelling structure and energy wouldn’t have gone amiss. The musician Miguel Moreira plays Djon, essentially a version of himself – a Portuguese guy whose family hails from Cape Verde, the island state and former Portuguese colony 350 miles off the west coast of Africa. Djon does little all day, loafing around his exasperated grandmother’s flat, hanging out with his girlfriend and occasionally loping out to help his sister on her shoplifting expeditions. But when an old lady in the street says that she knew his rascally, shiftless father in Cape Verde – the man who ran out on his family – and he looks just like him, Djon is moved to travel there on a mission to find the old man and find himself, too. I found myself smiling along to this film as likable Djon meets up with various people helping or hindering him, and the film looks great as it shows various places on the island. Where are we going with all this? A big discovery? Well, there is a discovery of sorts: Djon’s journey leads him to a truth about fatherhood and responsibility. An assemblage of set pieces and mood tableaux, and beautifully shot. • Djon África is released in the UK on 16 August.
Panorama | Contemporary World Cinema After coming into a little money, likeable Lisbon slacker-musician Miguel (Miguel Moreira)—he prefers the nickname Djon África—goes back to his roots on the islands of Cape Verde, off Africa’s northwest coast, in search of his father. Once in the capital, Praia, he hits a dead end when he learns the aunt he was hoping would help him has been dead for a year. With vague information about some relatives who live in another town, he sets off across the island. But soon, the locals and their ways—especially the consumption of grogue, a powerful rum-based liquor—weaken his resolve, and he begins to give himself over to the island’s rhythms, especially as they manifest themselves in music… Filipa Reis and João Miller Guerra’s loose and lovely film makes great use of island locations and a cast of non-professional actors as it follows our hero’s picaresque path. Along the way, the film offers an affecting lesson about what it’s like to be caught in-between: to Cape Verdeans, Djon is Portuguese, but back in Lisbon, he’s seen as Cape Verdean… "It takes a film as self-aware, warm and open-hearted as Djon África to assuage the vexing concerns that often arise with the new generation of docu-fiction hybrids. Where many directors almost perversely toy with viewers’ inability to distinguish between truth and make-believe, Filipa Reis and João Miller Guerra colour those grey spaces of uncertainty with real people whose impact on the fictional narrative adds depth and grace to their story. "—Jay Weissberg, Variety Country of Origin: Portugal/Cape Verde/Brazil Year: 2018 Running Time: 95 mins Format: DCP Language: In Cape Verdean Creole, Portuguese with English subtitles Cast: Miguel Moreira Producer: Pedro Pinho Screenwriter: Pedro Pinho, João Miller Guerra Cinematographer: Vasco Viana Editor: Eduardo Serrano, Ricardo Pretti, Luisa Homem Production Company: Terratreme Filmes, Desvia, 0II, Uma Pedra no Sapato Print Source: Still Moving.
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