Beatriz Batarda in the proletarian killing factory: anatomy of a massacre | Interview

“A brutal portrait of Portuguese immigration in England”. O statement falls on top of trailer of Marco Martins’ new film with the weight of a death sentence. But Great Yarmouth: Provisional Figuresan offshoot of the practically eponymous play that the filmmaker and director premiered in 2018 – after the clash with the displaced and “zombified” national proletariat that he found gravitating around a turkey factory on the east coast of England –, is far from there of the document that the slogan promotional promises. Filtered and distorted by the grammar of horror cinema that seemed relevant to him to account for the saga of these living dead of global capitalism, the marks of British social realism that constitute the cinephile and moral reference of this film are already something else: the very little that remains of the apotheotic breath of a hero like David Copperfield, who in 1850 Charles Dickens placed in this same Great Yarmouth, when the city was still “the finest place in the universe”.