{"id":2620,"date":"2005-09-02T16:32:00","date_gmt":"2005-09-02T16:32:00","guid":{"rendered":"http:\/\/www.patheos.com\/blogs\/filmchat\/2005\/09\/ouch\/"},"modified":"2005-09-02T16:32:00","modified_gmt":"2005-09-02T16:32:00","slug":"ouch","status":"publish","type":"post","link":"https:\/\/www.patheos.com\/blogs\/filmchat\/2005\/09\/ouch.html","title":{"rendered":"Ouch."},"content":{"rendered":"\n<\/head>

From Martin Tsai\u2019s review of The Constant Gardener<\/a><\/i> in the WestEnder<\/a><\/i>:<\/span><\/p>\n

City of God<\/i> first evidenced Meirelles\u2019s penchant for aestheticizing poverty into Benetton ads. As he did with the slums of Rio de Janeiro, he has filmed the destitute Nairobi with oversaturated colours, jerky camera work and choppy editing. Stylizing on demand, he has also photographed the scenes in London with a gloomy olive filter, and stages the Quayles\u2019 between bedsheets as if it were a Lancome perfume commercial. Basically, Meirelles is like the Brazilian Michael Bay<\/a>, only with slightly more sociopolitically-charged material to better inflict liberal guilt trips upon viewers.<\/p><\/blockquote>\n

I can see his point, but still \u2014 ouch.<\/p>\n<\/body><\/html>\n","protected":false},"excerpt":{"rendered":"

From Martin Tsai\u2019s review of The Constant Gardener in the WestEnder: City of God first evidenced Meirelles\u2019s penchant for aestheticizing poverty into Benetton ads. As he did with the slums of Rio de Janeiro, he has filmed the destitute Nairobi with oversaturated colours, jerky camera work and choppy editing. Stylizing on demand, he has also […]<\/p>\n","protected":false},"author":1116,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-2620","post","type-post","status-publish","format-standard","hentry","category-uncategorized"],"yoast_head":"\nOuch.<\/title>\n<meta name=\"description\" content=\"From Martin Tsai's review of The Constant Gardener in the WestEnder:City of God first evidenced Meirelles's penchant for aestheticizing poverty into\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.patheos.com\/blogs\/filmchat\/2005\/09\/ouch.html\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Ouch.\" \/>\n<meta property=\"og:description\" content=\"From Martin Tsai's review of The Constant Gardener in the WestEnder:City of God first evidenced Meirelles's penchant for aestheticizing poverty into\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.patheos.com\/blogs\/filmchat\/2005\/09\/ouch.html\" \/>\n<meta property=\"og:site_name\" content=\"FilmChat\" \/>\n<meta property=\"article:published_time\" content=\"2005-09-02T16:32:00+00:00\" \/>\n<meta name=\"author\" content=\"Peter T. 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