{"id":326727,"date":"2021-08-17T23:15:40","date_gmt":"2021-08-17T20:15:40","guid":{"rendered":"https:\/\/en.buradabiliyorum.com\/man-and-machine-make-love-in-automobile-erotic-king-car\/"},"modified":"2021-08-17T23:15:40","modified_gmt":"2021-08-17T20:15:40","slug":"man-and-machine-make-love-in-automobile-erotic-king-car","status":"publish","type":"post","link":"https:\/\/buradabiliyorum.com\/en\/man-and-machine-make-love-in-automobile-erotic-king-car\/","title":{"rendered":"#Man and Machine Make Love in Auto(mobile)-Erotic ‘King Car’"},"content":{"rendered":"

“#Man and Machine Make Love in Auto(mobile)-Erotic ‘King Car’<\/strong>”<\/p>\n

     <span class=\"mx-1\">Some honk car horns, others bonk horny cars.<\/span>\n<\/p><div id=\"\"><figure class=\"sf-entry-featured-media<\/a> \"><img width=\"800\" height=\"450\" src=\"https:\/\/filmschoolrejects.com\/wp-content\/uploads\/2021\/08\/king-car-1.jpg\" class=\"articlethumb wp-post-image\" alt=\"a car in King Car\" loading=\"lazy\" srcset=\"https:\/\/filmschoolrejects.com\/wp-content\/uploads\/2021\/08\/king-car-1.jpg 800w, https:\/\/filmschoolrejects.com\/wp-content\/uploads\/2021\/08\/king-car-1-768x432.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\"\/><p>\n                    <span class=\"sf-entry-flag sf-entry-flag-creditline\">Aroma Filmes<\/span>\n\n                        <\/figure><!-- START BYLINE --><div class=\"row align-items-center justify-content-center my-4 text-center medium dark-gray\">\n        By\u00a0Brianna Zigler\u00a0\u00b7 Published on August 17th, 2021 \n        <\/div>\n    <!-- END BYLINE -->\n\n    <em>This review of King Car is part of our coverage of the 2021 Fantasia Film Festival.<\/em>\n<\/code><\/pre>\n\n
If 2021 is improving upon 2020 in any meaningful way, it\u2019s in the fact that there are not one, but two horny car movies<\/a> this year. What is sure to make a fitting double feature alongside Julia Ducournau\u2019s Palme d\u2019Or-winning Titane<\/em>, is Renata Pinheiro<\/strong>\u2018s Brazilian film King Car<\/em><\/strong>: an ill-fated love story between a boy and his engine, in which industrial worship begets a kind of inherent primality.<\/p>\n
Uno (Luciano Pedro Jr.<\/strong>) was born into a family of car-lovers. In fact, he was literally born in a car thanks to his father\u2019s taxi service. However, Uno\u2019s connection to cars runs deeper than just a familial fixation \u2014 he has the uncanny ability to speak with automobiles. But after a tragic accident involving his mother, Uno grows into a young man with a desire to turn away from that which is inseparably a part of his DNA. When he reveals to his father his college plans to study agroforestry and agroecology, his father is naturally furious with him. So, Uno leaves home to stay in the good graces of his agricultural commune friends for the time being.<\/p>\n
That is, until a bizarre new law in Brazil forces cars older than fifteen years off the road, and Uno is compelled back into the fold. He teams up with his outcast uncle Z\u00e9 (Matheus Nachtergaele<\/strong>), who upgrades junkyard rejects into tricked-out rides, and Z\u00e9\u2019s car-fetishist, performance artist friend Mercedes (Jules Elting<\/strong>). The latter wears a pair of metallic, light-up panties with a red stamp attached to the crotch that affixes the word \u201cdead\u201d onto any monument she straddles and onto \u201csymbols that propagate male power\u201d (another idea introduced in the film that is left to hang largely on the fringes). Using Uno\u2019s automotive communication powers, the three of them commence the King Car\u2019s service: sprucing up old vehicles into futuristic, sentient machines in order to keep them on the streets and away from the junkyard permanently. However, this draws ire from Uno\u2019s agriculture collectivist friend Amora (Clara Pinheiro<\/strong>), despite Uno\u2019s rosy intentions for his cars and his conflicting environmentalist ideals. What starts off as an earnest attempt to save beloved machines deserving of a second life devolves into a cultish reverence of cars and the fusion between man and machine \u2014 a statement meant to illustrate the star-crossed love affair between humans and industrialization.<\/p>\n
\u201cWe haven\u2019t changed,\u201d a character tells a crowd of onlookers at one point. He\u2019s referencing the earliest humans\u2019 first association with machinery, in which a rock to crack open nuts became not a tool, but an extension of our personhood. Such ideas establish the basis of King Car<\/em>; a strange, cyberpunk-lite genre oddity profuse with gorgeous, high-octane imagery and half-formed statements about sustainability and environmentalism (from a script<\/a> co-penned by Pinheiro alongside Sergio Oliveira<\/strong> and Leo Pyrata<\/strong>) that falls short of engaging with them significantly.<\/p>\n
Though gifted with some steamy, woman-on-car climaxing evocative of Sundance 2020\u2019s amusement park ride romance Jumbo<\/em>,\u00a0King Car<\/em> has more on its mind than just sex. Granted, it engages with these ideas in a mostly surface-level way, seemingly opting out of committing to a concrete statement among its hodgepodge of provocative artistic elements and themes. Such an end product leaves the viewer with a mostly tenuous grasp on exactly what the filmmakers are trying to say in regards to the future of environmentalism, and the narrative arc similarly leaves a lot to be desired. The story\u2019s central conflict never quite escalates to anything that maintains the sense of dread that it begins building to, instead coasting along ho-hum into act three with our characters still sans any tangible danger \u2014 even when they\u2019re in the thick of it.<\/p>\n
Still, the visuals are nothing to complain about. Marcelo Caetano<\/strong>\u2018s equal parts sleazy, shiny cinematography effortlessly mingling between chrome and crud, while Karen Ara\u00fajo<\/strong>\u2018s production design invokes a vague sense of looming technological dystopia while grounding things very much in reality. It\u2019s another way of visualizing that the dystopia is, perhaps, already here, but ultimately, King Car<\/em> is more a collection of ideas and lustful notions about people, the planet, and industry than a strong assertion on all three of them. That said, it still takes you on one hell of a ride.<\/p>\n
    Related Topics: Fantasia Film Festival\n    <!-- AUTHOR BOX -->\n<\/code><\/pre>\n
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\n            Brianna Zigler is an entertainment writer with bylines at Polygon, Little White Lies, Thrillist, The Film Stage, Bright Wall\/Dark Room, and more. She runs a bi-monthly news<\/a>letter called That’s Weird<\/a>. Follow her and her big beautiful brain on Twitter: @justbrizigs<\/a>.        <\/div>\n<\/p><\/div>\n<\/div>\n
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“#Man and Machine Make Love in Auto(mobile)-Erotic ‘King Car’” <span class=”mx-1″>Some honk car horns, others bonk horny cars.<\/span> <\/p><div id=””><figure class=”sf-entry-featured-media “><img width=”800″ height=”450″ src=”https:\/\/filmschoolrejects.com\/wp-content\/uploads\/2021\/08\/king-car-1.jpg” class=”articlethumb wp-post-image” alt=”a car in King Car” loading=”lazy” srcset=”https:\/\/filmschoolrejects.com\/wp-content\/uploads\/2021\/08\/king-car-1.jpg 800w, https:\/\/filmschoolrejects.com\/wp-content\/uploads\/2021\/08\/king-car-1-768×432.jpg 768w” sizes=”(max-width: 800px) 100vw, 800px”\/><p> <span class=”sf-entry-flag sf-entry-flag-creditline”>Aroma Filmes<\/span> <\/figure><!– START BYLINE –><div class=”row align-items-center justify-content-center my-4 text-center medium…<\/p>\n","protected":false},"author":1,"featured_media":326728,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"fifu_image_url":"https:\/\/filmschoolrejects.com\/wp-content\/uploads\/2021\/08\/king-car-1.jpg","fifu_image_alt":"","footnotes":""},"categories":[17],"tags":[],"class_list":["post-326727","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-social-mediaa"],"_links":{"self":[{"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/posts\/326727","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/comments?post=326727"}],"version-history":[{"count":0,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/posts\/326727\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/media\/326728"}],"wp:attachment":[{"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/media?parent=326727"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/categories?post=326727"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/tags?post=326727"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}