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492: A Man Called Death

492: A Man Called Death

2017

PG-13

Director

Henrique Goldman

Runtime

100 minutes

Average Rating

No ratings yet

Synopsis

The story of Júlio Santana, a professional killer who was responsible for almost 500 hundred murders in Brazil.

Where to Watch

Diversity & Representation

Overall Score

2.8/10

Limited


Category Breakdown

LGBTQ+ Representation

Minimal

The film lacks any evidence of LGBTQ+ characters or non-cisnormative identities. The narrative focuses exclusively on the trajectory of a professional killer.

Gender Representation

Limited

The story centers on a male protagonist driving the plot through violent agency. It follows conventional gendered power dynamics typical of the crime genre.

Racial & Ethnic Diversity

Fair

Set in Brazil, the film engages with a non-Anglo-Saxon landscape. It likely reflects the racial complexities of Brazilian urban centers through its setting.

Religious & Cultural Diversity

Fair

The narrative explores systemic violence and moral relativism. However, it lacks explicit evidence of an anti-capitalist or anti-Western institutional critique.

Disability Representation

Minimal

There is no documented evidence of characters with visible or invisible disabilities. No such characters serve as central plot drivers.

Strengths

  • The Brazilian setting provides an inherent departure from Western-centric racial norms.

Areas for Improvement

  • The film lacks intersectional complexity and the subversion of social hierarchies.
  • There is a notable absence of LGBTQ+ representation and characters with disabilities.
  • The narrative relies on conventional gendered power dynamics and male-driven agency.

AI Analysis

The film operates as a traditional crime drama centered on the life of Júlio Santana. It prioritizes the agency of a singular, violent male protagonist, which aligns with established underworld tropes rather than subverting them. While the Brazilian setting provides an inherent departure from Western-centric racial norms, the film lacks intersectional complexity. The focus remains on individual criminality rather than a systemic deconstruction of social structures. Ultimately, the work lacks intentional representation of LGBTQ+ identities or disability, resulting in a narrow narrative scope.

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