Short stories revolving around a bar and a hotel in Recife, unveil a mosaic of exotic characters living in the Brazilian underground: a butcher married with an evangelical woman, a ... See full summary »
Brazilian MD Drauzio Varella starts AIDS prevention in Brazil's largest prison, Carandiru, in São Paulo, where the population is nearly double its 4,000 maximum. Doc learns from experience ... See full summary »
Fernando, a journalist, and his friend César join terrorist group MR8 in order to fight Brazilian dictatorial regime during the late sixties. Cesare, however, is wounded and captured during... See full summary »
A trip to the mental institution hell. This odyssey is lived by Neto, a middle class teenager, who lives a normal life until his father sends him to a mental institution after finding drugs... See full summary »
Cássia Kis Magro
Zero (Wagner Moura) is a brilliant scientist, but unfortunate because 20 years ago was publicly humiliated and lost in college Helena (Alinne Moraes) the love of his life. One day, an ... See full summary »
Maria Luísa Mendonça
The story of ex-babysitter Heloísa who fell in love with one member of her boss' family. After the boss' death, she gets the custody of her boss' 15 year old daughter Branca, the inheritor ... See full summary »
Re-working Raskolnikov as a listless but poor goth girl/would-be comic book artist in Sao Paolo, Brazil may have been an ingenious idea. Maybe it would have worked as a farce or a dark comedy. But setting up the expectations of a contemporary reworking of CRIME AND PUNISHMENT, NINA shows little understanding of the source material. It's an attempt at a radical reinterpretation that completely misses out on what made Dostoevsky's novel so brilliant. In the novel, the crime is deliberately planned out, committed without remorse. The punishment comes later. Here, it's a crime committed in the heat of the moment where the after-effects are an immediate loss of sanity. It's not simply that the film lacks the psychological depth of the Dostoyevski novel - that would be like complaining that a pond is shallow compared to an ocean - but that we are directed to feel sympathy for Nina. But why should we? We are not given any reason to other than images of her eating cat food. As a portrait of the difficulties facing Brazilian youth, the film serves as its own worst enemy since, in the case of its protagonist, it makes the difficulties appear to be self-imposed. Director Heitor Dhalia also wants to have it both ways - Nina steals from a blind man but then she gives part of her loot to a woman who's been violently thrown out of a cab for not having the money to pay for the ride. And I have nothing wrong with unlikeable protagonists (they can make for compelling films) but that the film attempts to elicit feelings of sympathy for her while not giving us any reason to. As a "descent into the mind of someone losing their mind", the film lacks the urban suffocation of the masterpiece of the genre, Roman Polanski's REPULSION. Attempts at creepy atmospherics feel forced (a product of the sound design/cinematography) and lacking any emotional depth or resonance.
By far, the highlight of the film is Myrian Muniz as the landlady from hell who plays the part with repulsive perfection (her evil wench is reminiscent of Anne Ramsey of THROW MOMMA FROM THE TRAIN and THE GOONIES fame).
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