In general, being set in the interior of bahia, the film follows the trajectory of Maria (Fernanda Carvalho), a 12-year-old girl who ends up being sold by her father (Rui Manthur) to an explorer named tadeu (Francisco Diaz). It is very important to mention here that the longa leaves latent from the beginning the naive hope of a family that is immersed in drought and poverty by the State which, in turn, offers beautifully the educational, social and economic needs of the population that is part of it, at least. Thus, like many parents, long believe that their daughters can have a better future, which makes it no problem to think that one of them could be adopted by a family with superior living conditions, something that serves as an advantage for opportunists who like a miracle readily offer a supposed help.
Even with a predictable script, the Brazilian film Angels of the Sun (Rudi Lagermann, 2006), responsible for winning the popular jury award for Best Feature of Ibero-American Fiction at the Miami International Film Festival, presents a theme more than relevant to the citizens of this serene land called Brazil - indeed, not only her, but many other nations that spread across the planet. After all, the film deals with the commercial sexual exploitation of children and adolescents, which brings by itself an impact to be specified as the main theme of a debate, especially for those who think: Even more so for those who think, "does this still exist?".
Child and youth trafficking, rapes, prostitution, anyway, are not so easy subjects to deal with, moreover in a film work, however, the script and direction of Rudi Lagermann galgam, so to speak, such a feat, even if in a somewhat didactic and fragmented way, these aspects that turned a feature of 1h and 32min into something somewhat boring at certain points of its narrative, which is also due to the predictability of the script, either in the lines of the characters or in the outcome of each scene.
Another factor worth mentioning is how the problems are solved too quickly, something that would not be a defect if it were not so visible to viewers. In view of this, from the first arc to the last, the film seems to be in a hurry to apply an ending, not allowing, consequently, a contemplation of the situations demonstrated by him, which could have a better outcome if they were granted a longer delay and development. However, as such development does not unfold smoothly, the feature sets out to cite one by one the problems faced by trafficked girls, directing them - sometimes perceptibly, sometimes not - in formats of severe criticism to the social context of the time that, unfortunately, still persists. Thus, I inexorably assert that the greatest and most fierce criticism lies in the neglect and silencing of people who do nothing to see all the atrocities presented to them. Here's what I liked the most, that is, the long makes it very clear that each individual earns something in exchange for their silence, be it sex, money or simply not getting involved in something that supposedly would destroy their life.
That said, what can we say with regard to actions? Well, they are not the strong point of the film, except in relation to more experienced actors and actresses such as Otávio Augusto, Vera Holtz and especially Antonio Calloni who, unlike his colleagues, goes beyond what is asked of him and delivers us at first sight a repulsive and atrocious Saraiva, involved in a quiet language with strong touches of the representation that develops him as an authentic executioner. Moreover, the actress Fernanda Carvalho closes herself ina melancholic expression that remains unchanged from beginning to end, which is positive because her character has very few lines, but negative because of no change in facial expression. Bianca Comparato, in turn, exposes her character ines in a carranca that, leaving what is presented by Fernanda Carvalho, does not bother, which is due to a greater resourcefulness of the actress.
Finally, I dare say that, even with the aforementioned difficulties, the feature film Angels of the do Sun not only grants an expansion of debates on the theme that it proposes, but also establishes the feasibility of accessing a demonstration based on facts of something that may seem distant from the daily lives of brazilians, highlighting the magnitude of cinema for the approximation of the public themes often hidden in the social environment and forgotten until today by society.
Thus, after so many considerations, here is what can be taken from the work that I criticize here:
In the scene of the final act, Maria, a 12-year-old girl - torn from the vulnerable family bosom in which she already suffered - without school education, often raped and raped in so many ways, notes, even with difficulty, the true reality of this world that can be too bitter for those who become invisible to their peers, since when asking for help, Maria is faced with a truck driver who does not exactly ask what she can offer in exchange for the ride, and she, knowing what is waiting for her, gives herself to the system in which we live, where she must offer herself to receive, and always the loss of some will be the gain of others. Therefore, it is very easy - when one does not know the trajectory - to judge a given Maria who survives through prostitution, just as it is even easier to point the finger at those who benefit from human suffering, however, it will not be so easy to reach out and help.
"According to data from the International Labor Organization (OIT), more than 100,000 girls are victims of sexual exploitation in the country, and by the United Nations, it is estimated that trafficking in human beings for sexual exploitation moves about 9 billion dollars in the world, and only loses in profitability to the illegal drugs and weapons market." (jordelma Veloso Costa, Juma Frota Rodrigues, december 2014).
G.E.C.A.FE - Grupo de Estudos em Cinema, Arte e Fenomenologia (Study Group on Cinema, Art and Phenomenology)
Even with a predictable script, the Brazilian film Angels of the Sun (Rudi Lagermann, 2006), responsible for winning the popular jury award for Best Feature of Ibero-American Fiction at the Miami International Film Festival, presents a theme more than relevant to the citizens of this serene land called Brazil - indeed, not only her, but many other nations that spread across the planet. After all, the film deals with the commercial sexual exploitation of children and adolescents, which brings by itself an impact to be specified as the main theme of a debate, especially for those who think: Even more so for those who think, "does this still exist?".
Child and youth trafficking, rapes, prostitution, anyway, are not so easy subjects to deal with, moreover in a film work, however, the script and direction of Rudi Lagermann galgam, so to speak, such a feat, even if in a somewhat didactic and fragmented way, these aspects that turned a feature of 1h and 32min into something somewhat boring at certain points of its narrative, which is also due to the predictability of the script, either in the lines of the characters or in the outcome of each scene.
Another factor worth mentioning is how the problems are solved too quickly, something that would not be a defect if it were not so visible to viewers. In view of this, from the first arc to the last, the film seems to be in a hurry to apply an ending, not allowing, consequently, a contemplation of the situations demonstrated by him, which could have a better outcome if they were granted a longer delay and development. However, as such development does not unfold smoothly, the feature sets out to cite one by one the problems faced by trafficked girls, directing them - sometimes perceptibly, sometimes not - in formats of severe criticism to the social context of the time that, unfortunately, still persists. Thus, I inexorably assert that the greatest and most fierce criticism lies in the neglect and silencing of people who do nothing to see all the atrocities presented to them. Here's what I liked the most, that is, the long makes it very clear that each individual earns something in exchange for their silence, be it sex, money or simply not getting involved in something that supposedly would destroy their life.
That said, what can we say with regard to actions? Well, they are not the strong point of the film, except in relation to more experienced actors and actresses such as Otávio Augusto, Vera Holtz and especially Antonio Calloni who, unlike his colleagues, goes beyond what is asked of him and delivers us at first sight a repulsive and atrocious Saraiva, involved in a quiet language with strong touches of the representation that develops him as an authentic executioner. Moreover, the actress Fernanda Carvalho closes herself ina melancholic expression that remains unchanged from beginning to end, which is positive because her character has very few lines, but negative because of no change in facial expression. Bianca Comparato, in turn, exposes her character ines in a carranca that, leaving what is presented by Fernanda Carvalho, does not bother, which is due to a greater resourcefulness of the actress.
Finally, I dare say that, even with the aforementioned difficulties, the feature film Angels of the do Sun not only grants an expansion of debates on the theme that it proposes, but also establishes the feasibility of accessing a demonstration based on facts of something that may seem distant from the daily lives of brazilians, highlighting the magnitude of cinema for the approximation of the public themes often hidden in the social environment and forgotten until today by society.
Thus, after so many considerations, here is what can be taken from the work that I criticize here:
In the scene of the final act, Maria, a 12-year-old girl - torn from the vulnerable family bosom in which she already suffered - without school education, often raped and raped in so many ways, notes, even with difficulty, the true reality of this world that can be too bitter for those who become invisible to their peers, since when asking for help, Maria is faced with a truck driver who does not exactly ask what she can offer in exchange for the ride, and she, knowing what is waiting for her, gives herself to the system in which we live, where she must offer herself to receive, and always the loss of some will be the gain of others. Therefore, it is very easy - when one does not know the trajectory - to judge a given Maria who survives through prostitution, just as it is even easier to point the finger at those who benefit from human suffering, however, it will not be so easy to reach out and help.
"According to data from the International Labor Organization (OIT), more than 100,000 girls are victims of sexual exploitation in the country, and by the United Nations, it is estimated that trafficking in human beings for sexual exploitation moves about 9 billion dollars in the world, and only loses in profitability to the illegal drugs and weapons market." (jordelma Veloso Costa, Juma Frota Rodrigues, december 2014).
G.E.C.A.FE - Grupo de Estudos em Cinema, Arte e Fenomenologia (Study Group on Cinema, Art and Phenomenology)