Good Manners

A spoiler light review of Good Manners should begin with tone, because Marco Dutra understands exactly how this horror film ought to feel. Good Manners gains early credibility from Isabél Zuaa, whose presence is balanced by the different rhythm of Marjorie Estiano. The foundation of Good Manners can be stated simply: Clara, a lonely nurse from the outskirts of São Paulo, is hired by mysterious and wealthy Ana as the nanny for her unborn child. Within its 2h 15m running time, Good Manners reveals both the benefits and the limits of that disciplined approach.

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Good Manners uses its horror film framework to consider fear, isolation and the moment familiar spaces stop feeling safe. For the character played by Isabél Zuaa, that idea gives Good Manners stakes beyond the next immediate obstacle. The recurring pressure of São Paulo prevents the theme in Good Manners from feeling like decoration added after the story. Marco Dutra makes Good Manners more thoughtful whenever the implications remain inside action and reaction.

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Good Manners gains much of its identity from carefully rationed sound, a choice that makes the world readable as well as attractive. The contribution of Good Fortune Films allows Good Manners to combine carefully rationed sound with a consistent visual language. Within its Brazil setting, Good Manners makes particularly good use of uneasy framing when the story needs to change scale. Sound and editing preserve the personality of Good Manners by supporting detail instead of announcing every intended response.

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Rather than summarise every event in Good Manners, it is enough to note how Clara places São Paulo under growing pressure. Isabél Zuaa gives that tension a face, which stops Good Manners from becoming a mechanical sequence of developments. Juliana Rojas uses Ana to widen the stakes of Good Manners without losing sight of the original problem. Where the central character becomes predictable, Good Manners recovers interest through the consequences surrounding it.

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The acting in Good Manners is anchored by Isabél Zuaa, who treats even functional scenes as opportunities to reveal character. Marjorie Estiano answers that approach with a different energy, giving Good Manners welcome friction whenever the pace begins to settle. Around them, Miguel Lobo helps Good Manners feel like an ensemble piece rather than a vehicle with decorative support. Under Marco Dutra, the performances in Good Manners share a tone even when the writing gives them unequal depth.

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As director of Good Manners, Marco Dutra proves dependable even when the material becomes familiar in the transitions between intimate material and larger demands. A strong scene in Good Manners often begins with a modest detail before Marco Dutra lets its meaning expand. For Good Manners, familiar choices gain value from committed execution because the central tone remains visible even during busy passages. The weakness in Good Manners is that some developments arrive well before they surprise, although Marco Dutra usually finds the original rhythm again.

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Overall, Good Manners amounts to a satisfying recommendation with minor reservations and should suit horror viewers who prefer atmosphere to constant shocks. The combination of Isabél Zuaa, Marco Dutra and carefully rationed sound gives Good Manners a specific identity. Although some developments arrive well before they surprise in Good Manners, the film recovers through craft and committed performance. For the audience it understands, Good Manners offers enough character to remain worthwhile after the immediate plot has faded.