Bad Living (2023) Mal Viver

×

Bad Living (2023) Mal Viver

Close

Mal Viver dives into the complexity of human relationships in a way that draws the viewer attention. This approach is captivating and hypnotic, ensnaring us in an emotional web that tightens as the film progresses. In my opinion, the way Canijo builds tension and depth within a single location, is almost similar to an Hitchcock movie.

However, the film's brilliance is slightly overshadowed by Canijo's insistence on working with the same core group of actresses. While there's no doubt about the talent of names like Rita Blanco, Cleia Almeida, Beatriz Batarda, Nuno Lopes, Rafael Morais and Anabela Moreira, the constant repetition of this "private club" limits the creative richness that Portuguese cinema could explore. There are other equally brilliant actors in the country who could bring new dynamics and emotional layers to the director's distinctive style. This preference for the familiar, though understandable in terms of chemistry and trust, becomes a double-edged sword, suggesting a certain artistic conservatism, and a personal obsession, that contrasts with the film's narrative boldness.

Even so, Mal Viver shines as an intimate and unsettling study of family relationships and the crushing weight of social expectations. With echoes of Hitchcock and a clear authorial signature, Canijo once again proves himself to be one of the most interesting filmmakers in contemporary Portuguese cinema. There's only the hope that, in the future, he will broaden his collaborative horizons, bringing other voices and faces into his fascinating cinematic universe.

×

Bad Living (2023) Mal Viver

Close