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O Ano em Que Meus Pais Saíram de Férias
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The Year My Parents Went on Vacation (2006) More at IMDbPro »O Ano em Que Meus Pais Saíram de Férias (original title)

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The Year My Parents Went on Vacation -- A boy is left alone in a Jewish neighborhood in the year of 1970, where both world cup and dictatorship happen in Brazil.


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Adriana Falcão (script collaborator)
Cao Hamburger
View company contact information for The Year My Parents Went on Vacation on IMDbPro.
Release Date:
2 November 2006 (Brazil) See more »
A boy is left alone in a Jewish neighborhood in the year of 1970, where both world cup and dictatorship happen in Brazil. Full summary » | Add synopsis »
Plot Keywords:
28 wins & 29 nominations See more »
User Reviews:
So Real and So Full of Aching Wonder See more (26 total) »


  (in credits order)
Michel Joelsas ... Mauro
Germano Haiut ... Shlomo
Paulo Autran ... Mótel, Mauro's grandfather
Simone Spoladore ... Bia - Mauro's mother
Eduardo Moreira ... Daniel, Mauro's father

Caio Blat ... Ítalo
Daniela Piepszyk ... Hanna

Liliana De Castro ... Irene (as Liliana Castro)
Rodrigo dos Santos ... Edgar
rest of cast listed alphabetically:
Felipe Hanna Braun ... Caco
Gabriel Eric Bursztein ... Bóris
Abrahão Farc ... Anatol
Haim Fridman ... Duda
Edu Guimarães ... Alfredo
Gérson ... Himself (archive footage)
Jairzinho ... Himself (archive footage)
David Kullock ... Haza
Sérgio Mastropasqua ... Man #2

Pelé ... Himself (archive footage)
Rivelino ... Himself (archive footage)
João Saldanha ... Himself (archive footage)
Hugueta Sendacz ... Dona Eidel
Tostão ... Himself (archive footage)

Directed by
Cao Hamburger 
Writing credits
(in alphabetical order)
Adriana Falcão  script collaborator
Claudio Galperin 
Cao Hamburger 
Bráulio Mantovani 
Anna Muylaert 

Produced by
Daniel Filho .... co-producer
Caio Gullane .... executive producer
Caio Gullane .... producer
Fabiano Gullane .... executive producer
Fabiano Gullane .... producer
Cao Hamburger .... producer
Sônia Império Hamburger .... executive producer (as Sônia Hamburger)
Débora Ivanov .... associate producer
Fernando Meirelles .... co-producer
Paulo Ribeiro .... associate producer
Carlos Eduardo Rodrigues .... associate producer
Patrick Siaretta .... associate producer
Original Music by
Beto Villares 
Cinematography by
Adriano Goldman 
Film Editing by
Daniel Rezende 
Casting by
Patricia Faria 
Production Design by
Cassio Amarante 
Makeup Department
Anna Van Steen .... makeup designer
Production Management
Alessandra Casolari .... post-production supervisor
André Montenegro .... production manager
Sandra Oksman .... assistant production manager
Malu Tippi .... assistant production manager
Second Unit Director or Assistant Director
Kity Féo .... first assistant director
Carol Lutz Setubal .... third assistant director (as Carol Lutz Klachoun)
Art Department
Kapel Furman .... props (as André Kapel)
Fábio Goldfarb .... set designer
Bia Pessoa .... art painter
Ana Lucia Valentim .... painter
Sound Department
Fabio Abu-Jamra .... assistant sound editor
Luis Bourscheidt .... foley assistant
Roberto Cappannelli .... sound re-recording mixer
Henri Siro Evrard .... assistant sound editor
Roger Hands .... foley artist
Carlos Klachquin .... sound consultant: Dolby
Juliana Lago .... assistant sound editor
Alessandro Laroca .... supervising sound editor
Eduardo Virmond Lima .... sound effects editor
Fernando Lobo .... foley mixer
Antonio Mac-Dowell .... foley editor
Débora Opolski .... dialogue editor
Romeu Quinto .... sound mixer
Armando Torres Jr. .... sound re-recording mixer
Special Effects by
Sergio Farjalla Jr. .... prop builder
Visual Effects by
Marcelo Ferreira PeeJay .... digital effects artist
Fabian Gamarra .... data manager
Vanessa Mariano .... visual effects
Rogério Marinho .... visual effects
Robson Sartori .... visual effects coordinator
Marcelo Siqueira .... visual effects supervisor
João Theodoro .... 2k scan
Karina Vanes .... post-production coordinator
Ricardo Imbelloni Vitor .... film recording
Ariel Wollinger .... digital intermediate supervisor
Ariel Wollinger .... film recording supervisor
Mariana Zdravca .... post-production coordinator
Camera and Electrical Department
Israel Basso .... grip
Rodrigo Carvalho .... camera operator
Claudino Guzula .... key grip
Carol Minêm .... video assist operator
Marcelo 'Marcelinho' Oliveira .... gaffer
Animation Department
Rafael Terpins .... animation director
Editorial Department
Alex Ferreira Barreiro .... assistant editor
Alessandra Casolari .... post-production coordinator
Fábio Fatorelli .... assistant editor
Patrícia Nelly .... post-production assistant
Rafael Yamin .... assistant colorist
Music Department
Thacio Palanca .... music production assistant
Fil Pinheiro .... composer assistant
Fil Pinheiro .... music editor
Fil Pinheiro .... musician
Patrícia Portaro .... music clearance
Other crew
Manuela Mandler .... production assistant
Ariadne Mazzetti .... commercial attendant
Florence Narozny .... press attache: Frfance
Jair Neto .... production assistant
Christiane Riera .... consultant
Leticia Tauffenbach .... script supervisor

Production CompaniesDistributorsOther Companies

Additional Details

Also Known As:
"O Ano em Que Meus Pais Saíram de Férias" - Brazil (original title)
See more »
Rated PG for thematic material, mild language, brief suggestive content, some violence and smoking
Brazil:104 min (theatrical and DVD) | Brazil:110 min | Argentina:104 min | Germany:104 min (Berlin International Film Festival)
Aspect Ratio:
1.85 : 1 See more »
Sound Mix:
Argentina:13 | Brazil:10 | Canada:PG (Ontario) | France:Unrated | Netherlands:6 | Singapore:PG | Switzerland:7 (canton of Geneva) | Switzerland:7 (canton of Vaud) | USA:PG

Did You Know?

Director Cao Hamburger spent half a year finding the two leads. There were about 1,000 auditions for the part of Mauro and 200 for Hanna.See more »
Movie Connections:
Referenced in To Each His Own Cinema (2007)See more »
Chiribim ChiribomSee more »


Is "The Year My Parents Went on Vacation" based on a book?
See more »
26 out of 29 people found the following review useful.
So Real and So Full of Aching Wonder, 17 February 2008
Author: aharmas from United States

Seldom does a film capture the essence of a period without sacrificing its soul. Hollywood works wonders with its budgets to recreate a long gone era, but most of those production offer empty shells, without much to care for. True, at their best, they carry a single emotion forward, and when its loud most of notice, but we leave without much emotional investment. This film stays inside your heart because it reaches deep with its message, with the purity of its storytelling, and most importantly with the powerful and yet quiet delivery of the its main performers.

Here there are no breathtaking special effects, but we keep catching our breath, as we follow the tale of a boy who must soon realize his life will never be the same. Pivotal events occur right before he must enter the traumatic stage of adolescence. There is still much wonder in his spirit, and his innocence is still pretty much in effect, as he captures the hearts and sympathy of people who barely know him. He is not a precocious youngster, only one who suddenly faces a crisis that he is not able to truly understand.

Eventually, as the film reaches its climax, his use of language demonstrates he has grown up. His silences represent a new understanding. Yet as he leaves us, we know he will always recall this special time in his life with much affection and wonder, and those qualities are so vivid throughout the movie that it is hard to dismiss this film as just another children's movie. It is heavily dependent on the very good work of two young performers, but it is ahaded with political references, with nostalgic touches of long gone eras, so we are enveloped by those powerful emotions, and yet, we know that what we are witnessing is part of our fabric and they will eventually recycle to create more stories like these. It is a very personal movie, one that should be commended by its ability to provide us with an exquisite sense of detail, with careful appreciation of the cultural forces that make a community, and the common bounds that we have in our different communities.

This just happens to be Brazil, a world that is always vibrant and admired by its contributions to world culture, a country long associated with soccer, that is now showing another facet of its multicultural fabric: a Jewish community. However, this is just another sweet element in the mix, one that serves as the background of a world that is ever changing, a world pulled apart by forces, and yet with an ability to heal and grow.

Mauro is not an observant, but he is a witness to turmoil that he doesn't understand. He is consistent and determined, never giving up on the hope he will see his parents again. There is no heartbreak, but we see how he at times needs to release his frustration and pain. There are no emotional fireworks, but great displays of how strong a common event can cross borders and ethnic differences, and for a while unite us all. Mauro shows us how a child thinks and behaves, how he is forced to understand and grow, even when he is not really ready, yet.

The movie is delicate, never loud, never too obvious in its delivery. The direction is subtle and masterful, never yelling at us, and never showing us demonic portrayals to show us the evil that exists in our world. Here is a director that can makes us appreciate the sense of loss, the beauty of transformation and growth, the agony of hopelessness, and a myriad of feelings that few movies in Hollywood can ever do.

Only one question remains: Why was this film ignored and not included in the Foreign film category? It is released early in this year, on its way to be a forgotten jewel in the world of cinema, with no chance at recognition much later because inexplicable oversight and bias is now delivering a message that unless not so subtle advertising and careful placement in the last three months of the year, a film is not worth the recognition it would otherwise deserve. It is time that the agency that so call recognizes quality in the art of cinema revamps a system that is now going stale and is truly disappointing those of us who really love good movies whenever they arrive and whatever genre and origin they might be. This film is indeed a sweet vacation from a very crowded and loud world.

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