Vazante (2017) - News Poster



Interview: Director Daniela Thomas on ‘Vazante,’ Presented by Music Box Films of Chicago

Chicago – A vital and obscure piece of Brazilian history is exposed in the new film “Vazante,’ directed by Daniela Thomas, and is the latest film to be distributed by Music Box Films of Chicago. “Vazante” is now playing at the Music Box Theatre through February 8th, 2018. For more information, click here.

The film is a stark-but-cinematic (in black and white) treatment of a difficult subject in Brazil’s history… the trading and keeping of African slaves. In 1821, a trader named Antonio (Adriano Carvalho) comes back to his remote plantation to discover his wife has died in labor. Left with his mother-in-law and slaves to care for, he takes as his new wife 12-year-old Beatriz (Luana Nastas), the daughter of his deceased wife’s brother. As he slowly begins his trade business again, his new bride is more interested in the slave community – and a boy (Vinicius Dos Anjos as Virgilio
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Jumanji Takes Second Win at the Box Office with $27 Million

Sony's Jumanji: Welcome to the Jungle was going up against three newcomers this weekend with Paddington 2, Sony's Proud Mary and Lionsgate's The Commuter, along with 20th Century Fox's The Post expanding nationwide. Still, none of these newcomers could take down the surprisingly strong Jumanji, which repeated atop the box office in its fourth weekend in theaters, taking in $27 million. The movie only dropped 27.4% this weekend, bringing its domestic total to an impressive $283.1 million from a relatively modest $90 million budget.

While this Jumanji sequel starring Dwayne 'The Rock' Johnson didn't come out on top in its first two weekends, which were won by Star Wars: The Last Jedi, it proved to be much more versatile than many expected, winning its second two weekends in a row while posting minimal decreases this weekend. Its current worldwide gross is at $666.1 million, although it remains unclear whether or not it will
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Brazilian Drama ‘Vazante’ Is An Assured Debut From Daniela Thomas [Review]

With rewards for patient viewers, Daniela Thomas‘ solo directorial debut is a spare, solemn drama filmed in black-and-white long takes that allow audiences to dwell in her characters’ plights with them. Set in Brazil in 1821, “Vazante” (“The Surge“) explores the roles that gender and race played in the colonial era in the South American country, with only the ruling white men having real power and agency.

Continue reading Brazilian Drama ‘Vazante’ Is An Assured Debut From Daniela Thomas [Review] at The Playlist.
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Will Paddington 2 Be the First Big Box Office Hit of 2018?

Jumanji: Welcome to the Jungle finally put an end to The Last Jedi's streak of three straight box office wins in a row, taking in an impressive $37.2 million in its third frame. Its reign may very well be short-lived though, with three high-profile new releases hitting theaters this week, Warner Bros.' family sequel Paddington 2, Sony's action-thriller Proud Mary and Lionsgate's action-thriller The Commuter. 20th Century Fox's awards season candidate The Post also expands nationwide after opening in limited release last month. We're predicting that, while it may very well be a close race, Paddington 2 will come out on top with a projected box office win of $21.7 million, beating out Jumanji: Welcome to the Jungle's fourth weekend tally of $20.6 million.

Jumanji: Welcome to the Jungle, which features an all-star cast including Dwayne "The Rock" Johnson, Kevin Hart, Jack Black and Karen Gillan, has had
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Jumanji Finally Takes Out The Last Jedi from #1 at the Box Office

In its third week in theaters, Sony's Jumanji: Welcome to the Jungle has finally managed to take the top spot at the box office, taking in an impressive $36 million. The movie dropped just 28.1% this weekend, playing in 3,801 theaters for a solid $9,471 per-screen average. The movie has now earned an impressive $244.3 million from the domestic box office, with an additional $275 million from foreign markets for a worldwide total of $519.3 million, from just a $90 million budget. While its reign atop the box office may in fact be a short one, its run has been impressive, nonetheless.

Jumanji: Welcome to the Jungle, which features an all-star cast lead by The Rock himself, Dwayne Johnson, opened on December 20, going up against 20th Century Fox's The Greatest Showman with Paramount's Downsizing, Universal's Pitch Perfect 3 and Warner Bros.' Father Figure opening two days later, with Sony's All the Money in the World opening on Christmas Day.
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10 Films to See in January

As you make your way through the best films of 2017, January not only brings wide releases of two of our top picks–Phantom Thread and Call Me by Your Name—but a handful of worthwhile 2018 titles as well. The month is also defined by Sundance Film Festival 2018, where an early look at some of the year’s finest films will debut, and we’ll be there once again to cover.

Matinees to See: Django (1/5), The Insult (1/12), Vazante (1/12), The Polka King (1/12), The Final Year (1/19), Mom & Dad (1/19)

10. Blame (Quinn Shephard; Jan. 5)

Synopsis: A substitute drama teacher at a suburban high school develops a taboo relationship with an unstable student, sparking a trail of jealous sabotage from the student’s peers.


Why You Should See It: Written, directed, edited, and starring 22-year-old Quinn Shephard, Blame premiered at Tribeca Film Festival last spring. We said in our review, “It’s an impressive debut
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Will Insidious 4 Slaughter Last Jedi at the Box Office?

Will Insidious 4 Slaughter Last Jedi at the Box Office?
2017 came to an end with Star Wars: The Last Jedi easily staying put at the top of the box office last weekend, over the final frame of the year. This upcoming weekend marks the first of the new year, with only one new release opening in theaters, Universal's Insidious: The Last Key, the fourth entry in the Insidious franchise, while the true story adaptation Molly's Game expands into a nationwide release after opening in limited theaters on Christmas Day. Despite this new competition, we're predicting that Star Wars: The Last Jedi will repeat for a fourth weekend in a row, although it may be quite the close race.

The Last Jedi pulled in $52.6 million last weekend, its third in theaters, dropping just 26.4% and bringing its domestic tally to $517.3 million, making it the top grossing domestic movie of the year. While it still has a bit of work to do to
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Music Box Films Nabs U.S. Rights to ‘The Guardians’ (Exclusive)

Music Box Films Nabs U.S. Rights to ‘The Guardians’ (Exclusive)
Music Box Films has acquired the U.S. rights to Xavier Beauvois’ “The Guardians,” a female-powered historical drama that made its world premiere at Toronto.

Starring Nathalie Baye, Laura Smet and newcomer Iris Bry, “The Guardians” is set in France in 1916, and explores the lives of the women on the Pardier farm as they keep the family property going in the absence of their husbands and sons, who are off fighting in the Great War. The film follows the journey of Francine, a mysterious young woman who starts working for a family and becomes the center of a familial turmoil when the sons return on leave.

Sold by Pathé International, the movie was produced by Sylvie Pialat at Paris-based Les Films du Worso (“Timbuktu”) and co-produced by Rita Productions. Pathé, Orange Studio and KNM are co-producing.

Music Box Films plans a theatrical rollout in the spring of 2018, followed by a release on home entertainment platforms.

“We are pleased
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Mill Valley Film Festival is Celebrating 40 Years!!

Mill Valley Film Festival is Celebrating 40 Years!!
Showcasing the Best in Independent and World Cinema

Thursday, October 5–15, 2017Acclaimed Festival Films From Around the World And New Offerings from Bay Area Filmmakers Highlight First Slate of Films Announced at 40th Mill Valley Film Festival

The Mill Valley Film Festival (Mvff), presented by the California Film Institute, has announced the first set of films to premiere at the 40th edition of the Festival, returning to Marin County October 5–15, 2017. The Festival will present the Bay Area premiere of many acclaimed films from the 2017 Cannes Film Festival, the 2017 Sundance Film Festival and the 2017 Berlin International Film Festival.

Additionally, Mvff will launch many acclaimed Bay Area filmmakers’ latest films as part of the Festival’s effort to showcase the many established and emerging filmmakers in the Bay Area.

Early Confirmed films from the 2017 Cannes Film Festival at MVFF40:

Ruben Östlund’s Palme d’Or Winner and Swedish Oscar Submission The Square
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Film News Roundup: ‘Downton Abbey’ Star Allen Leech Joins ‘Bohemian Rhapsody’

Film News Roundup: ‘Downton Abbey’ Star Allen Leech Joins ‘Bohemian Rhapsody’
In today’s film news roundup, “Bohemian Rhapsody” rounds out its cast with “Downtown Abbey” actor Allen Leech, Kenny Leu and Ciara Renee will star in a police drama, and the AFI Latin American Film Festival rolls out its lineup.


Fox has rounded out the cast of the Queen biopic “Bohemian Rhapsody” with Allen Leech cast as Freddie Mercury’s personal manager, Paul Prenter.

Rami Malek is starring as the frontman, with Ben Hardy, Gwilym Lee, and Joe Mazzello as members of Queen. Production on the film will begin this fall, with Bryan Singer directing from Justin Haythe’s script. New Regency and Graham King’s Gk Films are the production companies.

Prenter was fired by Mercury for disclosing inside information about the singer after working with him for nine years, from 1977 to 1986.

Leech’s credits include “Bellevue” opposite Anna Paquin, “Downton Abbey,” and “The Imitation Game” opposite Benedict Cumberbatch. He
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Film Acquisition Rundown: Focus Buys Paolo Sorrentino’s ‘Loro,’ The Orchard Picks Up ‘Thumper’ and More

Film Acquisition Rundown: Focus Buys Paolo Sorrentino’s ‘Loro,’ The Orchard Picks Up ‘Thumper’ and More
Keep up with the wild and wooly world of indie film acquisitions with our weekly Rundown of everything that’s been picked up around the globe. Check out last week’s Rundown here.

– The Orchard has acquired the North American rights to Jordan Ross’s directorial debut “Thumper,” starring “Orange is the New Black’s” Pablo Schreiber. The gritty crime thriller debuted at the 2017 Tribeca Film Festival and was written and directed by Ross. The movie also stars Eliza Taylor, Lena Headey, Ben Feldman, Grant Harvey and Daniel Webber. Set in a town of low-income and fractured families, “Thumper” is centered around a group of teens that are lured into working for a dangerous drug dealer. A new girl arrives into town hiding a dangerous secret that will impact everybody and change their lives forever.

Read More: Film Acquisition Rundown: Mubi Buys Philippe Garrel’s ‘Lover for a Day,’ FilmRise
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Music Box Films acquires ‘Vazante’

Music Box Films acquires ‘Vazante’
The film had its world premiere in the Panorama Special section in Berlin.

Music Box Films has acquired Us rights to Vazante, Daniela Thomas’ first solo-directed feature.

Vazante, set in Brazil in 1821, centres on a slave trader who finds out that his wife died in labour. While forced to live on the farmhouse with numerous African slaves, the trader marries his wife’s niece. A restless soul, he returns to his trading expeditions, leaving his young wife behind alone with the slaves.

Brazilian filmmaker Thomas previously co-directed the Cannes selection Linha De Passe, Midnight, and Foreign Land alongside Walter Salles.

Sara Silveira of Dezenove Som e Imagem and Cisma Produções’ Beto Amaral produced in association with Ukbar Filmes in Portugal.

“We are pleased to be working with Daniela Thomas to bring her eloquent depiction of the often untold history of early 19th century Brazilian mining life to American audiences,” Music Box president William Schopf said.

Films Boutique CEO [link
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Co-Productions on the Rise in Brazil

Co-Productions on the Rise in Brazil
Better late than never. In February, the U.K. and Brazil ratified a film-tv co-production treaty first unveiled in 2012.

At the Rio Content Market in March, Brazilian and French film authorities signed a framework collaboration pact hailed as a first step toward their own bilateral co-production treaty. The main Brazil event at Cannes will be a U.K.-Brazilian co-production meet, organized by state-backed film promotional entity, Cinema do Brasil.

Brazil’s film industry has long been a force to reckon with on the international stage. But the thrust of its film policy abroad over the past decade has been into international co-production, particularly in Latin America. Spearheaded by state-backed film agency Ancine, this Portuguese-speaking nation has forged co-production treaties with a host of countries including Argentina, Uruguay, Canada, Chile, Italy, Germany, Spain, Portugal and Venezuela; and it is signatory to multilateral treaties such as the Ibero-American Film Integration and
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Lais Bodanzky, Maria Ribeiro on ‘Just Like Our Parents’

Lais Bodanzky, Maria Ribeiro on ‘Just Like Our Parents’
Sold by Wild Bunch and produced by Brazil’s Gullane, the company behind “The Second Mother,” one of Berlin’s biggest arthouse sales hits two years ago, Berlin 2017 Panorama player “Just Like Our Parents” forms part of a new cinema of social conscience in Brazil which examines the forces forging a modern Brazil.

But if Daniela Thomas’ “Vazante” turns on miscegenation, and Marcelo Gomes’ “Joaquim” on the consequences of anger against social and economic privilege and corruption, the fourth feature from Lais Bodanzky, one of Brazil’s most reputed women directors, takes on chauvinism. As Homero, the doddery new age artist father of protagonist Rosa puts it, justifying his serial philandering, “sexual encounter is the divine grace of God. This is hereditary. It’s in our DNA, it’s our heritage.”

“Just Like Our Parents” chronicles a woman’s attempt to battle such attitudes and their consequences, the evisceration of
See full article at Variety - Film News »

Berlin Film Review: ‘Vazante’

Berlin Film Review: ‘Vazante’
An arrestingly upsetting, though lyrically shot opening sets the tone, if not the pace, of “Vazante,” the solo feature directorial debut from Walter Salles collaborator Daniela Thomas (who co-directed “Foreign Land,” Midnight,” and the Cannes-awarded “Linha de Passe”). In fragmented and impressionistic close ups — a white hand grasping a sheet, a slave’s black face falling in and out of focus as she exhorts her mistress to push — Thomas begins her film with a scene of childbirth that is also a scene of death, and it is not the last time these two concepts will appear inextricably intertwined in her darkly mysterious period fable.

Mining life in Brazil in the early 1800s is, according to her envisioning, haughty and brutal, where man’s inability to wholly tame nature gives rise to the inarticulate rage of white landowning men who oppress women and slaves alike in a futile attempt to master their destinies.
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Brazil’s Karim Aïnouz Moves Forward on Five Feature Slate (Exclusive)

Brazil’s Karim Aïnouz Moves Forward on Five Feature Slate (Exclusive)
Berlin-based director Karim Aïnouz, a driving force in Brazil’s cinema build, has set a slate of projects to be produced, among others, by director Walter Salles (“The Motorcycle Diaries”) and Brazil’s two most prominent producers, Rodrigo Teixeira (“Call Me By Your Name,” “Patti Cake$”) and Fabiano Gullane (“The Second Mother”).

Director of 2014 Berlin competition player “Futuro Beach,” Aïnouz is also planning also to co-direct a movie with Marcelo Gomes, whose “Joaquim” world premiered in Berlin competition last week. Aïnouz is already in production on a documentary for Arte.

Though totally disparate in film type, the five movies show a common preoccupation: To map out the revolutionary forces, for good and bad, shaping Aïnouz and forging the contemporary world.

Reuniting Aïnouz and Gomes, “Clandestinos” underscores a sense of urgency running through most of Aïnouz’s projects. The directors’ prior film together, 2009’s “I Travel Because I Have To, I
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Daniela Thomas Talks About Her Indie Film Hit Vazante

What I love most about international film festivals is the opportunity to discover rare gems and stimulating foreign indie flicks, which may otherwise get lost in the mainstream blockbuster shuffle. One of this year’s contenders is a compelling Brazilian slave drama, set in the isolated backlands of this lush country, in the early 19th century during its painfully colonial times. Vazante is tragic story of slave trader Antonio, who in the event of losing his wife in child labor marries his late wife’s 12-year-old niece.

While waiting for his child wife to mature and irritated by a lack of diamond production in the Diamante Mountains, Antonio is advised by one of his foremen to cultivate and farm his vast rugged land with his captive slaves. Isolation, fear, violence, betrayal and prejudice are all at the premise of this beautifully shot black and white film, with minimal dialogue and score.
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Portuguese Cinema Records Record Presence at 2017 Berlinale

With nine Portuguese films – including five co-productions – selected for the Berlinale, the country will have a record presence at the Berlin Film Festival in 2017.

This comes at a pivotal time for the Portuguese film industry: A new film law is about to be enacted which has provoked controversy and debate amongst Portuguese producers in relation to the main focus of Portuguese film production. Should it be films aimed at the international circuit? Or films targeted primarily at the domestic box office? Or a middle way between the two?

One of the main bones of contention is the process for selecting juries, which until now has been carried out by the Portuguese Film Institute (Ica). The new law proposes it should be made by the Specialized Section for Film and Audiovisual (Seca) of the National Council of Culture.

This issue has divided the country’s film associations. In the lead-up to the 2017 Berlinale,
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'Vazante': Film Review | Berlin 2017

As a member of the key creative team behind the Rio Olympics opening ceremony last year, Daniela Thomas helped to conceive a celebration of Brazilian cultural identity that refused to gloss over the shameful chapters of the past. One of the most powerful sequences in that arena spectacle was the arrival of African slaves. Pushing stylized plows while shuffling along on shackled feet, they gradually integrated in the Olympics pageant with indigenous Brazilians, European colonists and subsequent immigration waves to form the ethnically complex mestizo population of today.

In Thomas’ darkly oneiric epic, Vazante, the director and her screenwriting partner...
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Brazil Makes Great Strides at This Year’s Berlinale

Brazil Makes Great Strides at This Year’s Berlinale
Will early 2017, and Berlin in particular, be seen in retrospect as a golden age for modern Brazilian cinema, cut short in its prime?

Brazil’s presence at the festival is at an all-time high this year even as producers fear public film funding at Brazilian federal film-tv fund Ancine will plunge. Ten completed movies, led by Marcelo Gomes’ competition player “Joaquim,” will play in different sections of the fest: “Vazante,” from Daniela Thomas, who directed three movies with Walter Salles, opens Panorama; Sundance sensation “Call Me by Your Name,” produced out of Brazil by Rodrigo Teixeira’s Rt Features, also plays in Panorama.

That bounty represents a big increase from the not-too-distant past. Up to 2014, with occasional exceptions, Brazil averaged just three to five films a year at Berlin, including shorts. Only Germany, U.S., France, and Canada boast more movies selected for this year’s Berlinale than Brazil.

On top of that,
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