| Carla Ribas | ... | Alice | |
| Berta Zemel | ... | Dona Jacira | |
| Vinicius Zinn | ... | Lucas | |
| Ricardo Vilaça | ... | Edinho | |
| Felipe Massuia | ... | Junior | |
| Zé Carlos Machado | ... | Lindomar | |
| Renata Zhaneta | ... | Carmen | |
| Luciano Quirino | ... | Nilson | |
| Mariana Leighton | ... | Thais | |
| Dirce Couto | ... | Neide | |
| Jorge Cerruti | ... | Toninho | |
| Talita Craveiro | ... | Vanessinha | |
| Elias Andreato | ... | Seu Gabriel | |
| Claudio Jaborandy | ... | Evanildo | |
| rest of cast listed alphabetically: | |||
| Cícero Augusto | ... | Carlinhos Abranches | |
| Thiago de Mello | ... | Dr. Olavo - the optometrist | |
| Monicah Duarte | ... | Hairdresser | |
| Francisco Gaspar | ... | Hairdresser | |
| Roberto Leite | ... | Taxi passenger | |
| Marcos Pedroso | ... | Client in car | |
Directed by | |||
| Chico Teixeira | |||
Writing credits(in alphabetical order) | ||
| Chico Teixeira | writer | |
Produced by | |||
| Zita Carvalhosa | .... | producer | |
| Patrick Leblanc | .... | producer | |
| Carla Ribas | .... | associate producer | |
| Chico Teixeira | .... | associate producer | |
| Berta Zemel | .... | associate producer | |
Cinematography by | |||
| Mauro Pinheiro Jr. | |||
Film Editing by | |||
| Vânia Debs | |||
Production Design by | |||
| Lili Bandeira | |||
Art Direction by | |||
| Marcos Pedroso | |||
Costume Design by | |||
| André Simonetti | |||
Second Unit Director or Assistant Director | |||
| Amilcar M. Claro | .... | assistant director | |
| Amilcar Monteiro Claro | .... | assistant director | |
| Leticia Prisco | .... | first assistant director | |
Art Department | |||
| João Ricardo | .... | property master | |
Sound Department | |||
| Tiago Bello | .... | foley editor | |
| Ana Chiarini | .... | dialogue editor | |
| Ana Chiarini | .... | sound editor | |
| Sergio Guidoux Kalil | .... | foley mixer | |
| Felipe Burger Marques | .... | foley artist | |
Camera and Electrical Department | |||
| Janice Davila | .... | first assistant camera | |
| Mauro Pinheiro Jr. | .... | camera operator | |
Editorial Department | |||
| Alex Ferreira Barreiro | .... | assistant editor | |
Other crew | |||
| Maria Fatima Toledo | .... | acting coach (as Fátima Toledo) | |
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| Vers le sud | Bab el makam | Cama de Gato | Voyage of Terror: The Achille Lauro Affair | The Lady and the Taxi Driver |
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"A Casa de Alice", the first feature film by documentarian Chico Teixeira, wouldn't be far from your regular soap opera if not for the way the camera investigates the characters -- instead of concentrating on facial expressions and dialog, it's the body language that interests Teixeira and that ultimately gives us the insight on the various characters.
There's nothing about the story/plot/characters that you haven't seen before, except maybe that ALL the characters are ambiguous: Alice and her husband have affairs on the side; Alice's old mother has ailing eyesight but is the only one who sees every sordid thing that's going about; Alice's oldest son, Edinho, is a G.I. who's a male prostitute in his spare time; the middle son, Lucas, is granny's favorite but also a petty thief (that includes stealing from granny); angel-faced Junior, the youngest son, knows how to get the things he wants by being calculatedly adorable and cute. The ambiguity also applies to the supporting characters, like innocent-looking devilish neighbor Thais, or Alice's soft-talk lover Nilson.
There's serious misery-index in the film: everyone's frustrated and unhappy and in love with people who don't love them back. The single exception -- the one requited love -- is the urgent, possessive, alternately delicate and passionate bond (it's not clear whether actual intercourse is involved, though there are strong suggestions) between brothers Edinho and Junior. The camera lingers three or four extra beats on their mutual gazing and caresses and obvious horniness for each other -- so much so that their relationship nearly takes over the film.
The acting is fine all around, and Carla Ribas goes all the way in her bravura performance (she has won an array of awards for it), though she isn't quite convincing in the physique du role department: we're always aware she obviously doesn't come from the same world as Alice -- her fine skin, her voice, her accent belong to a higher social class. Theatrical legend Berta Zemel, as the elderly mother, shows all her skill in an almost silent part. But the finest, most thrilling acting comes from the three boys (all of them first-timers) who play the sons and nail their shadowy characters with perfection, with not one false note: they're the main reason to see "Alice".
The final third and the denouement are impossibly contrived (I don't want to enter spoiler territory); in such a realistic slice-of-life piece, it comes as a real disappointment. Anyway, the film may serve as a curio for non-Brazilian audiences who wrongly identify Brazilian films solely with favelas, drugs or gory violence -- Brazilian films about the struggles, dreams and frustrations of the middle classes are a century-long tradition and a big part of Brazilian cinema. Connoisseurs will certainly recall many that have more strength, insight and depth than this intermittently interesting, slow, grim, overrated and undeniably finely-acted "A Casa de Alice".