Eduardo Coutinho was filming a movie with the same name in the Northeast of Brazil, in 1964, when there came the military coup. He had to interrupt the project, and came back to it in 1981,... See full summary »
Tite de Lemos,
A small community of descendants of Italian immigrants in the interior of the state of Rio Grande do Sul resorts to making a video to try to solve the problems of basic sanitation that plague their village.
Transposition of the myth of Faust to modern Brazil. The heir to a bankrupt cigarette factory, amidst a personal crisis, leaves everything behind and heads for a supposed paradise he has ... See full summary »
Emílio Di Biasi,
In a small town in Minas Gerais, the arrival of a young priest causes a commotion in the conservative atmosphere of the place, aggravated by the sudden attraction this priest feels for a ... See full summary »
Financial and administrative problems in a religious school for girls force the Government to interfere. While waiting in the conference hall to communicate the fact to the school ... See full summary »
Anarchist film with surrealistic touches, fine actors and delightfully wacky dialog
Ana Carolina surprised everybody when, after many documentary shorts and a hit documentary feature about Brazilian dictator Getúlio Vargas, she jumped into anarchist, surrealist crazy drama/black comedy with her first fiction film "Mar de Rosas". A non-sequitur, iconoclast portrait of middle-class family life, her protagonist Betinha (Cristina Pereira, perfectly cast) is a sort of teenage Mafalda (Quino's comic book anti-heroine): rambunctious, naughty, irrepressible, eager to be evil. She's on the run with her mother Felicidade (Norma Bengell, returning to Brazilian films after a long sojourn in European cinema and theater), who has killed husband Sergio (Hugo Carvana) in a hotel bathroom. Betinha and Felicidade are followed by suspicious character Bardi (Otávio Augusto) and, after terrible "accidents" -- Betinha sets fire on her mother at a gas station, Felicidade is hit by a bus while trying to escape from Bardi -- the 3 of them end up being "helped" by wacky couple Dirceu (Ary Fontoura) and Niobi (hilarious, wreck-voiced Myriam Muniz).
"Mar de Rosas" has some major lulls (especially toward the end) and is technically precarious, but the acting is inspired and, despite being ultimately a tragic film, you'll find yourself cracking with the loony dialog which is rather difficult to translate, as Ana Carolina uses a lot of Brazilian jeux de mots, adages and figures of speech in her trademark style of "free association". "Mar de Rosas" is refreshingly anti-cliché, and its critical and commercial success paved the way to Ana Carolina's very individual oeuvre that combines anti- conformism, feminism and social criticism with a delightful touch of surrealistic (black) humor.
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