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    Latin Wave Film Festival

    In Craft, film-within-a-film examines the search for fame

    David Theis
    May 1, 2011 | 7:45 am

    First-time Brazilian director Gustavo Pizzi likes it when people ask where he found the luminous young actress who stars in his film Riscado (Craft). “She’s my wife,” he laughs.

    Since the film, which is being shown at the Latin Wave Film Festival Sunday, deals with the tribulations and humiliations an unknown actress faces while trying to pursue her “craft” of acting, you might think that the film is unusually personal. Like her character, Karine Teles has worked less-than-stellar jobs, touting new beauty salons, doing impersonations at birthday parties, etc.

    But in an interview Pizzi shifts the attention from the personal to the universal. “Yes, we talk about ourselves (in the film), and about our friends, who go through these things as well.” By “these things” he means the tension between doing what you love and paying the bills.

    “But we’re lucky that these are things that people feel everywhere. L.A., New York. Austin. I don’t know Houston very well, but I believe it happens here too.” He shrugs. “So many talented people give up because they don’t get chances.”

    In the film, Bianca (Teles) appears to be on the verge of her big break. She’s auditioned for a film being made by a Brazilian auteur who divides his time between Rio and Paris, don’t you know. He thinks she’s perfect for his new film, a French-Brazilian co-production, and even rewrites the character to fit Bianca better.

    The film is so convincing, and Teles is so appealing, that for a time you feel like you’re watching a realistically-made fairy tale, where the princess’ wish will come true. So when reality intrudes, and Bianca learns that the French co-producer doesn’t see eye-to-eye with the director when it comes to casting, the effect is surprisingly painful.

    The end of the film is ambiguous. The film-within-the-film, the one that was supposed to be about Bianca, is still being shot in Rio. When the French actress does her Carmen Miranda fantasy, we see that Bianca is one of the prop-waving extras. Does her appearance as an extra here signal that she’s given up, and accepted the fact that she’ll never be the star of an international co-production? Or is this just the latest setback among many, and she’ll be back to fight another day? The look on her face can be read either way—though Pizzi believes she hasn’t given up.

    “Others think she gives up, but I think she goes on. She’s a fighter.”

    The film appeared at the recent SXSW, and Pizzi still seems taken aback by its reception. “People really understood it. It was even better than the reaction in the Rio Film Festival,” where Teles was named Best Actress.

    It’s difficult for Brazilian films to find distribution in Brazil, but Riscado was picked up after the Rio festival. “People were going to the national distributors and telling them they had to distribute this film.”

    So perhaps Teles’ career will have a happy ending after all.

    Riscardo (Craft) is shown at 5 p.m. Sunday at the Latin Wave Film Festival at the Museum of Fine Arts, Houston

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    Movie Review

    Five Nights at Freddy’s 2 doesn't match the first movie's enthusiasm

    Alex Bentley
    Dec 4, 2025 | 3:45 pm
    Five Nights at Freddy's 2
    Blumhouse
    Five Nights at Freddy's 2.

    Blumhouse Productions first made their name with the Paranormal Activity series, establishing themselves as a leader in the horror genre thanks to their relatively cheap yet effective movies. In recent years, they’ve added on “soft” horror films like M3GAN and Five Nights at Freddy’s to draw in a younger audience, with both films becoming so successful that each was quickly given a sequel.

    Five Nights at Freddy’s 2 finds Mike (Josh Hutcherson) and his sister Abby (Piper Rubio) still recovering from the events of the first film, with Abby particularly missing her “friends.” Those friends just so happen to be the souls of murdered children who inhabit animatronic characters at the long-defunct Freddy Fazbear’s Pizza, children who were abducted and killed by William Afton (Matthew Lillard).

    A new threat emerges at another Freddy Fazbear’s location in the form of Charlotte, another murdered child who inhabits a creepy large marionette. Mike, distracted by a possible romance with Vanessa (Elizabeth Lail), fails to keep track of Abby, who makes her way to the old pizzeria and inadvertently unleashes Charlotte and her minions on the surrounding town.

    Directed by Emma Tammi and written by Scott Cawthon (who also created the video game on which the series is based), the film tries to mix together goofy elements with intense scenes. One particular sequence, in which the security guard for Freddy Fazbear’s lets a group of ghost hunters onto the property, toes the line between soft and hard horror. That and a few others show the potential that the filmmakers had if they had stuck to their guns.

    Unfortunately, more often than not they either soft-pedal things that would normally be horrific, or can’t figure out how to properly stage scenes. The sight of animatronic robots wreaking havoc is one that is simultaneously frightening and laughable, and the filmmakers never seem to find the right balance in tone. Every step in the direction of making a truly scary horror film is undercut by another in which the robots fail to live up to their promise.

    It doesn’t help that Cawthon gives the cast some extremely wooden dialogue, lines that none of the actors can elevate. What may work in a video game format comes off as stilted when said by actors in a live-action film. The story also loses momentum quickly after the first half hour or so, with Cawthon seemingly content to just have characters move from place to place with no sense of connection between any of the scenes.

    Hutcherson (The Hunger Games series), after being the true lead of the first film, is given very little to do in this film, and his effort is equal to his character’s arc. The same goes for Lail, whose character seems to be shoehorned into the story. Rubio is called upon to carry the load for a lot of the movie, and the teenager is not quite up to the task. A brief appearance by Skeet Ulrich seems to be a blatant appeal to Scream fans, but he and Lillard only underscore how limited this film is compared to that franchise.

    Five Nights at Freddy’s 2 is better than the first film, but not by much. The filmmakers do a decent job of making the new marionette character into a great villain, but they fail to capitalize on its inherent creepiness. Instead, they fall back on less effective elements, ensuring that the film will be forgettable for anyone other than hardcore Freddy fans.

    ---

    Five Nights at Freddy's 2 opens in theaters on December 5.

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