I just finished watching At Midnight I’ll Take Your Soul (1964) and it’s actually quite good. I especially like the atheist bits, his materialist world view, his Nietzschean take on things.
For example, Coffin Joe eats meat on Holy Friday, just to taunt his catholic fellow townspeople.
And consider the opening oration of Coffin Joe:
“What is life? It is the beggining of death. What is death? It is the end of life! What is the existence? It is the continuity of blood. What is blood? It is the reason of the existence!”
All this blasphemous discourse makes you wonder how this went down in Brasil. After all, it was 1964, another four years for 1968 to happen … and … did that even ‘happen’ in Brasil, the sexual revolution?
See atheism in Brazil, the sexual revolution in Brazil.
Ilsa conducts sadistic scientific experiments designed to demonstrate that women are more capable of enduring pain than men are, and therefore should be allowed to fight in the army. Ilsa is also portrayed as having a voracious sexual appetite for her male prisoners, whom she then castrates and kills.
It plays with the tropes of male anxiety of sexual inadequacy and the fear of castration.
Her character was very loosely based on that of Ilse Koch.
In the course of my research following his death, I found that Belolo was co-responsible for a horrifying version of “Aquarela do Brasil” by the Ritchie Family, and for the kitsch classics “Y.M.C.A.”, “In the Navy”, and “Go West” by the Village People.
However, it is Break Machine’s record “Street Dance” (1983) which I want to bring your attention here. A personal favorite, of however questionable taste it may appear to be.