By Michelle Martin
Starring Malu Galli, Sandro Guerra and Tavinho Teixeira
Written and directed by Daniel Bandeira
Vitrine Films
It is often said that horror reflects the fears of its time, with the long-overused “monster = trauma” trope being the most recent. In the post-pandemic world, it’s interesting to see class-conscious films like PROPERTY sprout out of the muck.
PROPERTY follows Teressa (Malu Galli), who narrowly avoids being killed in a hostage situation in the opening few seconds of the film. She and her husband, Roberto (Sandro Guerra), seek refuge at their family’s farm to relax and recalibrate. Shortly after their arrival, they are confronted by the dozens of workers who live on the estate. Roberto plans to sell the land to buy a hotel and has no intention of helping these people find work or shelter, effectively displacing them all. Fearing the potential for danger, Teressa locks herself in her armored car, unwilling to budge on their demands as the group swarm in.
Malu Galli shines as the traumatized Teressa. She carries a remarkable burden and sadness on her face, yet her stubbornness feels realistic and incendiary. Though frequently described as a thriller, writer-director Daniel Bandeira’s film seems slightly misrepresented. PROPERTY is far more measured in its pacing, often deliberately drifting back and forth in perspective as the workers and Teressa weigh their options. The result is a realistic depiction of both the rich and the poor, and neither side of the argument offers anything cartoonish or stereotypical. The audience understands the motives across the board, which makes for a far more compelling experience. However, even with a moderate degree of empathy for the frightened Teressa, Bandiera’s message is unequivocally clear: If you push people to the limits of their survival, a revolt is inevitable.
