Four small gangsters from Copenhagen trick a gangster boss: they take over 4,000,000 kroner which they were supposed to bring him. Trying to escape to Barcelona they are forced to stop in ... See full summary »
In Rio, Máiquel is without prospects. He's philosophical and low-key. When he loses a bet and must dye his hair blond, life changes: he finds new confidence, he asks Cledir, the hairdresser, on a date, and when he's teased by a local tough kid, he murders him. Instead of an arrest, Máiquel's a local hero; the cops look the other way. He and Cledir become lovers, his victim's girlfriend Érica, who's 15, insists that he protect her and moves into his small flat, and job offers come his way from a group of rich men who want to settle scores and get rid of local riff-raff. Where can this business go, and what about the triangle of Cledir, Érica and Máiquel? He just wants to be normal? Written by
The Underground Life in the Periphery of the Big Brazilian Cities
In Baixada Fluminense, in the State of Rio de Janeiro and in the periphery of the City of Rio de Janeiro, Máiquel (Murilo Benício) is a loser, who believes that God wants to f*** him and that life cannot be controlled, like a flow of a river. He loses a soccer bet with his friends and has to dye his hair blond, using the services of the gorgeous hairdresser Cledir (Cláudia Abreu). In the night, when he goes to a small bar dating Cledir to show his friend the payment of the bet and his new beautiful girlfriend, the criminal Suel (Wagner Moura) laugh him. Máiquel becomes upset and challenge Suel to a duel. On the next day, Máiquel shoots and kills Suel, and becomes famous in the neighborhood as a vigilante. The fifteen years old mistress of Suel, Érica (Natália Lage) moves to his apartment and Máiquel becomes a sensation in the community where he lives. His fame of hero reaches the upper class dentist Dr. Carvalho (Jóge Dória), who hires Máiquel to kill the man who raped his seventeen years old daughter Gabriela (Mariana Ximenes). Meanwhile, Cledir gets pregnant and marries Máiquel. This is the beginning of his successful career of killer. In the end, Máiquel believes that the are two options for like: let it go, like a flow of a river, or use reins and ride it like a horse.
It seems that the success of 'Cidade de Deus' gave enough courage to other directors to expose to the world the underground life in the periphery and slums of the big Brazilian cities. 'O Homem do Ano' is based on a successful book of Patrícia Melo called 'O Matador' ('The Killer'). In the book, the story takes place in the periphery of São Paulo, but once the reality in the periphery of Rio de Janeiro is the same and due to geographical reasons, the story was transposed to the Baixada Fluminense, one of the most violent places in Brazil. Its narration in off by Máiquel recalls a film-noir. The story has most of the components of the popular and cheap Brazilian newspapers: the common murders and execution by vigilantes in the periphery of the Brazilian big cities and the religious fanaticism of the hopeless low classes. The middle and upper classes passively accepts this fearful way of life. Most of the characters in this movie represents a great segment of our society, where in some weekends can show more than seventy deaths of 'anonymous and common persons' only in Baixada Fluminense. The movie is never corny, there is no exaggeration in the situations and is based on the worst present problem of our society, the violence. Lack of education, corruption, impunity, lack of employment, very low salaries and life conditions, lack of perspective in life, lack of security, hypocrisy of the upper classes, all of these components in minor or greater proportions, result in the increasing violence showed in movies like 'O Homem do Ano', 'Cidade de Deus', 'Cidade dos Homens' and other sad examples of Brazilian society. Just as a curiosity, Cláudia Abreu has a daughter (Maria) with the director José Henrique Fonseca, who is son of the writer Rubem Fonseca. My vote is eight.
Title (Brazil): 'O Homem do Ano' ('The Man of the Year')
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