I hardly think the ending is "Marxist," which is far too simplistic a reading of the complex history the entire story captures. As the opening stills suggest, the past history of Recife (and Brazil) hovers over and behind the present.
Thus the class and color differences the film portrays, the distinct and differing ways the characters work or don't, the anomie and ennui the wealthier characters display vs. the simmering anger and resentment the poorer people show, and so forth. The past even invades the dreams of the wealthier characters, such as when João and Sofia go to the engenho (sugar mill), or when the girl has the nightmare of the thieves invading.
The one direct link is the final payback involving Clodoaldo and his brother from Paraná. (That the brother has come back from Paraná parallels the historical movement of people from the rural and urban northeast of Brazil to the far wealthier south-central (São Paulo, Minas Gerais, whose capitals are mentioned at one point) and southern (Paraná, Santa Catarina, Rio Grande do Sul) states.)
I did think the ending left too many loose ends. The impressionism and associativeness was fine, but I only wish there had been a few more threads, strands or bows tied together, even if not so neatly.
"Neighboring Sounds" is very provocative, distinctive film by any measure.
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Errington_92
9 years ago
The ending made sense to the context of Neighbouring Sounds. It was obvious the security guards had a secret agenda (as some of the neighbors suspected), so the plot twist was no surprise. As for the surreal moments some feel are out of place, they clearly are character introspection. They offer an insight into their emotions adding to Neighbouring Sounds's context.
I'd rather be hated for who I am, than loved for who I am not.
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