Anderson Cleber

Anderson Cleber’s “Property” (2022) is one of those films that just sort of crawls under your skin, you know? Set against the backdrop of a sweltering, tense Brazil, the whole thing kicks off with a wealthy couple—Teresa and Roberto—who decide to take a little breather at their countryside estate, trying to escape some city drama. But, yeah, that plan nosedives fast. The estate isn’t some peaceful paradise. The workers there aren’t exactly fans of their bosses, and you can feel the resentment bubbling right from the jump. Tensions? Off the charts. So, out of nowhere, what starts as a regular day turns into a full-blown siege. Teresa, who’s already got a bunch of her own trauma, finds herself trapped in an armored car, stuck between the angry workers and her own panic. The movie doesn’t really handhold you through her fear—it drops you right in it. There’s yelling, there’s chaos, and the lines between victim and villain? Super blurry. Honestly, nobody gets off easy here. What’s wild is how the film keeps cranking up the pressure. You get these sharp, claustrophobic shots that make you feel almost as trapped as Teresa. And the social commentary? Not exactly subtle, but it hits hard. Power, privilege, the messiness of class divides—it’s all right there, raw and messy. And by the end, you’re left chewing on what just happened, wondering who really owns what, and whether anybody’s ever really safe behind locked doors.