Coisa Mais Linda – Film Before The Film

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Coisa Mais Linda– the most beautiful thing– is a 1950’s based Brazilian drama that has a vibrant and upbeat title sequence that gives you a very nostalgic feeling. It utilizes many visual elements to highlight key aspects of the series (i.e. characters) and transitions to the next. The first image in this sequence is of a woman wearing bright red lipstick and luxurious jewelry. This immediately draws your attention to the film and allows you to make assumptions about this specific character such as her coming from a rich family or being involved in some lucrative business. We also see other related imagery such as fancy drinks, flashy jewels, and bright red nail polish. 

The editors also include filters, such as bokeh, and basic retro shapes for the transitions and while they go by pretty fast, the transitions are fluid and seamlessly blend into the next scene. Going back to the incorporation of shapes in the sequence, it matches a very retro and vintage aesthetic; this gives us an indication of what era is portrayed. This also goes hand in hand with the dreamy, faded filter over certain daytime scenes.           

       

While the typography used for the credits is very simple, there are a few times throughout the sequence where certain words are floating across the screen; they aren’t completely opaque and almost blend into the scene such as the one below where the singer has the word “samba” on top of the screen. This is done very well and it blends in seamlessly with the transitions and filters. The soundtrack utilized goes very well with the title sequence because it also blends that aspect of a woman with a reputation like I mentioned previously. The original song is called “the girl from Ipanema” and is covered by Amy Winehouse. The song says “samba” and a few seconds later, we see this word float across the screen.

 

         

The music is also in sync with other aspects of the transitions, for example, the beat of the song matches the flashing of the bokeh filter at the end of the title sequence. The lighting in this seems to jump from bright and airy daytime flashbacks to dark, club-like lighting. The trailer ends with a cut of four women, presumably the main characters, shown in between flashes and a bold film title over them. The title font utilized in the final scene is bright yellow and laid out in a quirky style, making it memorable and distinguishable from anything else shown in the sequence.