If there's a principal conflict between seeing a film screened theatrically at the Tribeca Film Festival and watching one streamed through the event's virtual player, it's that it's easier to "pass out" of the latter, especially given how many distractions there are on the internet. As far as "alternative distribution model" ventures go for film fests these days, I favor the VOD option given that it's more like traditional home entertainment.The streaming web idea might be better suitable for drawers and live coverage of red carpets and Q&As. And perhaps for sitcom-ish movies like Elvis & Madonna, which can be broken up and watched intermittently over the form of the eight years it's available. Initially I nearly walked out on this Rio-set rom-com about a lesbian photographer/pizza delivery "boy" named Elvis and a transgender (she calls herself a transvestite, but she has breast implants) hairstylist/showgirl named Madonna when it speedily became evident that it was less Almodovar and more precisely the kind of broad, badly written comedy that simply gets exposure because of its LGBT angle. The Tribeca film guide calls it "one of the most unique romantic comedies to issue in years," but really it takes more than a game involving a gay girl getting accidentally knocked up by her apparently-still-has-a-penis lover to be truly original these days. And having a weak subplot with a scary drug dealer/porn actor/ex-boyfriend is not that extra measure, either. Especially when the picture of offence is quite cartoonish compared to what we're commonly granted with Brazilian cinema (and television, even) lately. For some reason, as well as I abandoned Elvis & Madonna, I kept virtually walking back in, mainly because I'm not effective at just leaving films or TV series unfinished, especially if they're so easily returned to. It's the like grounds I proceed on watching Weeds on Netflix Instant two seasons after it stopped being worth it. At least with American television, though, I can put it on and but half pay attention while I do other things. I don't speak Portuguese, so in this subject I rather had to continue my eyes on the screen, reading the subtitles. Although, the narration is predictable and the dialogue bland enough that you don't get to be the subtitles too attentively to get what's going on. Basically, Madonna dreams of putting on a big show, her bad-ass Predator-looking ex steals her savings, she meets Elvis after ordering a pizza one night, they come in love, become mothers, Predator guy ends up in jail thanks to Elvis' fledgling freelance career as a photojournalist, there's an unsatisfying climax that you can easily surmise from this description and any acquaintance with bad comedy thrillers, the end. Also, there's an awkward dinner scene at Elvis' parents house featuring a cursing granny and set to Strauss' "Blue Danube" waltz, which is paused, "record scratch"-like, when a certain confession comes out. I live I get too often in the use of easily imagining a Hollywood adaptation for every terrible foreign comedy I see, but that just screamed remake. Is the U.S. multiplex crowd ready for a transsexual rom-com? Or is Elvis & Madonna truly progressive? Well, there are lot of supporting characters jokingly shocked and disapproving by the romance (including a confused and somewhat wacky OBGYN) that the conception is yet too set aside to be viewed as any more innovative than To Wong Foo... let alone Transamerica. Still, this may be the start time I've seen a nude sex scene with a transgender with "real" breasts, though I'm certain I could do a Google search and well get some predecessors. I bet the Hollywood version would exclude that stuff. Well, maybe it could turn so explicitly as a First series.
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