When we see the poster or even the name of the movie Daddy is Pop we create expectations that will not be met when we enter the room and cinema. Which is not necessarily bad and contributes to the film being a daring proposal and never seen in Brazilian cinema.
With a colorful poster and a fun title, at first we imagine that it will be another light Brazilian film with conventional themes, like the vast majority of national works that gain space in cinemas. Although the film’s aesthetics are similar to those of these classics, taking place in a typical Brazilian house, with characters and habits common to our culture, its great differential is the thematic.
There is no work in mainstream Brazilian cinema (that I can remember) that speaks so openly and critically about paternity. Seeing this discussion, often restricted to a militancy universe, which definitely does not have the same reach as a movie in the cinema, winning the screens in a sensitive and believable way is one of the great pleasures that the work provides.
Without resorting to great exaggerations, in its scene dynamics, potentiated by the performance of two great national talents as Lázaro Ramos and Paolla Oliveira, the work opens up some of the common absurdities that are part of the reality of Brazilian families. This simplicity allows the viewer to identify with the work and trace reflections from it, something that would probably not happen if that same viewer came into contact with this criticism through social networks, newspapers or even in a circle of friends.
The big idea then is to bring a theme that could sound like “lacração” or “mimimi” by the most conservative, with a lot of subtlety and using a supposed triviality that brings identification. The father represented there is definitely not a great villain or a horrible person, and he wouldn’t need to, the objective is to demonstrate how any father is susceptible to making mistakes, even if he believes he fulfills his role well.
Despite being a power, this thematic choice reduces the target audience of the film, which at first is sold as a work “for the whole family”. To get involved with the questions that are proposed, it is necessary for the viewer to have a certain maturity, experience or even interest in this type of family discussion. Although “father” is a universal theme, this clipping in an audiovisual production of almost two hours is not capable of holding the interest of a 14-year-old or even a child.
In this aspect, the promotion of the film failed to communicate an idea that diverges from the real proposal of Daddy is Pop. If you arrive at the cinema with your toddler and, taken by the colorful poster and fun title, choose to buy tickets to see Daddy is Pop, probably with a good 30 minutes of film, your child will be tired. Not that the work is dense and difficult to understand, far from it, but the sequence of scenes with a high dramatic charge wins shots from the comic load of the work, which could have been more explored and would have left the film more narrative and with a less “educational” character. ”.
Although this discordant message generates a break in expectations, it serves the film’s purpose well to invite anyone and everyone to watch it and, thus, get in touch with the proposed message.
It is also worth mentioning the care taken by the production to portray a family whose father, grandmother and daughter are black people, changing the circumstances of the narrative that are intelligently explored in small jokes and positioned comments that match the veiled way of criticizing the film. In addition, we have a soundtrack conducted by emicida and the participation of some children’s books, such as “Blackberries” e “And that’s how me and the darkness became friends”written by the rapper, who is a reference in the racial discussion in the country as well as a father.