The Brazilian Cinema II

The Brazilian Cinema I

You can find it at "La Boite Noire"
Madame Satan
Madame Satã
Director: Karim Ainouz
Set mostly in the late 1920s and early 1930s, this is the true story of a flamboyant transvestite cabaret performer, street fighter, cook, prostitute, father to seven adopted children and outlaw Madame Satã.

You can find it at "La Boite Noire"
Behind the Sun
Abril Despedaçado
Directed by Walter Salles
The focuses on the plight of two clans condemned by the Law of Talion to seek retribution generation after murdered generation for the killing of past loved ones.

You can find it at "La Boite Noire"
Me, You, Them
Eu Tu Eles
Directed by:Andrucha Waddington
Based on a true story, comically depicts the relationship between an woman and her three husbands who live together at the same house.

Barren Lives
Vidas Secas
Director: Nelson Pereira dos Santos
This Brazilian Grapes of Wrath was instrumental in establishing the international reputations of the movement. "One of Latin America's most enduring masterpieces . . . The everyday is turned into the magical through the eyes of a true film poet" (Toronto I.F.F.).

The Given Word
O Pagador de Promessas
Director: Anselmo Duarte
Palme d'Or at Cannes in 1962 over such major works as Buñuel's The Exterminating Angel and Antonioni's The Eclipse. A moving tale of simple faith set against blind authority, a poor rural peasant who carries a heavy wooden cross for thirty miles.

Hour of the Star
A Hora da Estrela
Director: Suzana Amaral
Director Suzana Amaral raised nine children before deciding in her late thirties to become a filmmaker; Hour of the Star, her much-admired first feature, was made when she was 52. "one of the most remarkable movies in some time -- a witty, morbid, incandescent Brazilian film in which the hopeless story of a poor and barely literate working girl is alchemized into cinematic poetry" (Molly Haskell).

The Amulet of Ogum
O Amuleto de Ogum
Director: Nelson Pereira dos Santos
To entertain some thieves, a blind guitar player tells them the story of a man who allegedly had a "closed body", meaning that his body couldn't be hit by bullets or other weapons, by the wish of Ogum, one of the gods of Candomblé.

Tent of Miracles
Tenda dos Milagres
Director: Nelson Pereira dos Santos
Caustic critique of Brazil's "myth" of racial democracy. The forgotten story of a self-taught amateur anthropologist whose unusual theories of race mixing once earned him the enmity of Bahia's white elite.

Rio, 40 degrees
Rio 40 Graus
Director: Nelson Pereira dos Santos
"As important to Latin American cinema as Godard's A bout de souffle was to European film" (Toronto I.F.F.). The film follows five different peanut vendors from the slums as they make their way on a hot summer's day through five different regions of Rio.

In the Margin
A Margem
Director: Ozualdo Candeias
Ozualdo Candeias made this remarkably poetic work, his first feature, at the age of 45. Told with few words and a torrent of startling images, the film sets two surreal tales of tragic love along the slum-packed banks of Sao Paulo's Tietê river. "This atmospheric rendering of marginal existence is poetic filmmaking of great humanity and power" (Museum of Modern Art).

Vancouver's Pacific Cinémathèque
FIVE MASTERPIECES
Brazilian Cinema Promotion

K.S.
WINGS – WRITING, FLYING AND HUEVOS REVUELTOS
http://montrealswinds.blogspot.com