IN THE LAST DECADES of the fourteenth century, composers working in the French tradition were sometimes musicians of profligate imagination. In addition to polyrhythms, extravagant melodic sequences and sudden dissonances, they sometimes created a sense of forward momentum in their compositions by sheer crowding of the texture, a legacy reaching back to the leading composer of the French Ars nova, Guillaume de Machaut (d1377). The music of Machaut, represented here by the exotic four-part ballade, Il m’est avis, was still being enjoyed in Italy around 1430 according to the theorist Ugolino of Orvieto, and even the most flamboyant aspects of late fourteenth-century style, fostered by Machaut’s successors, did not perish entirely in the 1400s.
Two amateur thieves are hired to steal an extremely valuable Van Gogh painting from the abandoned farm of an Argentinian countess. Leonel Vieira was on fire directing this one. Beautiful static shots and interesting dolly moves. Photography was also very Tarantin-esquire, a yellow-toned and 70s classic art-films theme. All in English.
Since no others leap to mind, I would have to say that Joao Bosco is the greatest civil engineer turned singer/songwriter in the history of Brazilian popular music. He graduated with his degree in 1972 but since then has been concentrating on becoming one of Brazil's most formidable songwriters. For most of his early career he supplied Elis Regina with some of her best material, indeed it could be said that each one made the other's career, but since her death, Bosco has stepped into the performance limelight with a great degree of authority and has been one of the more compelling figures in Brazilian music for the last 25 years.