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Sea of Roses (1978)

Mar de Rosas (original title)
| Comedy, Drama | 1978 (Brazil)
Woman runs away having the company of her daughter, the ultimate brat, in a journey full of bizarre events.



(dialogue), | 1 more credit »
5 wins. See more awards »


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Credited cast:
Norma Bengell ...
Otávio Augusto ...
Orlando Barde
Myrian Muniz ...
Dona Niobi (as Miriam Muniz)
Ary Fontoura ...
Dr. Dirceu
Cristina Pereira ...
Hugo Carvana ...
Rest of cast listed alphabetically:
Maria Sílvia ...
Woman in Train


Woman runs away having the company of her daughter, the ultimate brat, in a journey full of bizarre events.

Plot Summary | Add Synopsis


Comedy | Drama





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1978 (Brazil)  »

Also Known As:

Sea of Roses  »

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User Reviews

Anarchist film with surrealistic touches, fine actors and delightfully wacky dialog
15 February 2007 | by (Rio de Janeiro, Brazil) – See all my reviews

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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