O Mundo Bakanudo do Cinema & da TV

Tem um site muito legal: www.filmschoolrejects.com, lá você encontra críticas, novidades, prêmios e trailers de cinema. Eles estão precisando de alguém que contribua para o site, eu enviei um texto para eles que estou postando abaixo. O site americano então o texto é em inglês ok doky?

                                                                Not typical at all

Set in a typical Brazilian beach, featuring a typical family on a typical vacation, nevertheless there is nothing typical about Heitor Dahlia’s new movie Adrift. It tells the story of a fourteen year old girl, Filipa, through her eyes. On a hot summer she experiences the changes that are happening to her body as well as the changes in her family, which affects her from the outside.
Vincent Cassel portraits her father, a men whose daughter is becoming a woman before his eyes but he is not able to see it. A father whose daughter perceives him as the ideal man turns out to be normal, as any other man, interested in other women, not only her mother. The finding of a mistress (Camilla Belle) changes their relationship, establishing a game of liking and disliking and finding out the reasons for her parents acts is the prize.
Dhalia is used to putting his characters under a magnifying glass, he did that with Nina and Drained. The madness of the most unusual people was exposed to the viewers; now, an apparently normal microcosm is imbued with drama.   
The painful transition which Filipa is going through is told as if it was poetry, the senses are enhanced by the stunning scenery and musical score.  Antonio Pinto´s music follows the leading lady´s footsteps.
It is almost a period piece, since it’s set during the eighties. We can see that every piece of clothing had special treatmente, it wasn´t found in a flee market. What could be a very steriotyped wardrobe almost screems: The Wham!
Like a child, the character’s losses seem umbearable, an infinite suffering that will never go away. Like a woman, she learns to see things under a different light.
The cast´s chemistry works so well that we almost believe they are an actual family, it feels close to a documentary. Vincent Cassel´s clumsy and laid back father and Débora Bloch´s alcoholic and unloved mother seem members of any other (complicated) family.  
Although we have in front of us a pretty tropical place, the influences are cleary European. It is pratically impossible not to notice a flair of the French Nouvelle Vague, to be more specific, Truffaut’s debut Les quatre cents coups; Filipa running to the beach is the spitting image of Antoine Doinel.
It is a story about growing up, in every sense of the word, growing as a person, growing into an adult, changing. Heitor Dhalia is changing as well as his characters; he is turning into a bonafied good movie director.

Mariana Serapicos