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Reviews
Capitalismo Selvagem (1993)
A Forbidden Love
Brazil's outrageously dramatic tele-novellas inspire this tale of marital infidelity, national betrayal, public scandal, long lost orphans and of course, forbidden love. When a reporter uncovers the truth behind a company's plans to mine in the interior of Brazil it sets in motion a complex tale. Ecological ruin could result if the primal forces of this passionate land are ignored.
A very good film made before the new wave of brazilian movies. You have to see it!!!
Uma Onda No Ar (2002)
Chicken that follows duck dies drowned...
It seems it's war in the big favela (shantytown). The police start to go up the hill while a pirate radio station tells the population how to react. It's the radio that the police are looking for.
This is the start of a brazilian tale...
The Radio Favela appeared in years 80, in a favela of Belo Horizonte. With a courageous programming and a spontaneous language, it conquered a great number of listeners and reach beyond the imagination. UMA ONDA NO AR (A WAVE IN THE AIR) is fiction with a lot of reality. In the film, true facts are mixed with imaginary and the caracters are full of freedom.
This movie, together with CIDADE DE DEUS (CITY OF GOD) brings the problem in the brazilian favelas. But they share only the theme, CIDADE DE DEUS is a lot more powerfull with much blood and violence.
UMA ONDA NO AR brings a warm feeling of hope!!! The radio symbolize the freedom of speech. And the greatness of the humanity...
Cidade de Deus (2002)
I liked it and Walter Salles(Central Station) too...
Brazilian reality has surpassed the majority of attempts to portrait it in fiction. The acceleration of social decomposition has transformed violence into a banality.
Few books have captured so completely this state of affairs (the Brazilian apartheid and the outlawing of the favelas), as does Cidade de Deus, by Paulo Lins. Written by a son of the favela, Cidade de Deus reveals, for the first time, how this ever increasing process of incrimination has ended by overflowing into drug dealing enterprises and the struggle for power in the hillside shantytowns.
Cidade de Deus, the film by Fernando Meirelles, is an extremely powerful transposition of Paulo Lins's book. With a tremendous impact, modern and visceral, the film counts almost exclusively on the acting abilities of youngsters coming from the favelas around Rio de Janeiro.
Meirelles and co-director Katia Lund worked with these kids for over six months, in a laboratory process comparable only to that undertaken by Hector Babenco while filming Pixote.
Orchestrated by a director with profound knowledge of cinematographic grammar, Cidade de Deus renews Brazilian filmmaking, and offers the spectators the possibility of understanding the roots of social chaos which characterize our country today a little better.
WALTER SALLES
Abril Despedaçado (2001)
A Very Good Movie From the Director of Central Station
Behind the Sun (Abril Despedaçado) was inspired by the novel Broken April by the Albanian writer Ismail Kadaré. It was adapted for the screen by Walter Salles, Sérgio Machado and Karim Aïnouz, and the filming took place in August and September 2000 in the towns of Bom Sossego, Caetité and Rio de Contas, in the interior of Bahia.
The film is a Brazilian - French - Swiss co-production. Behind the Sun brings together once more producer Arthur Cohn, who collaborated with Vittorio De Sica on his last five films and is the only independent producer to have won six Oscars, and Brazilian director Walter Salles. Their last film together, Central Station, won more than 50 international awards and was seen by more than 7 million viewers, including 1.6 million in Brazil.
As in Foreign Land and Central Station, the cast of Behind the Sun brings together both professional and non-professional actors. To prepare the actors, Walter Salles relied on assistant director Sérgio Machado and actor Luiz Carlos Vasconcelos. The director of photography is Walter Carvalho and the music is by Antonio Pinto, with the collaboration of Ed Côrtes and Beto Villares, and with the special participation of Siba, from the Pernambucan group Mestre Ambrósio.