Vazante Music Box Films Director: Daniela Thomas Screenwriter: Daniela Thomas, Beto Amaral Cast: Adriano Carvalho, Luana Nastas, Sandra Corveloni, Juliana Carneiro Da Cunha Screened at: Critics’ link, NYC, 1/6/18 Opens: January 12, 2018 1821 was a very good year—if you were King George IV of England—but not if you were born or shipped to Brazil […]
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The post Vazante Movie Review appeared first on Shockya.com.
- 1/8/2018
- by Harvey Karten
- ShockYa
The Berlin International Film Festival has revealed the first 11 titles in its Panorama section, including Raoul Peck’s “I Am Not Your Negro,” the James Schamus-produced “Casting JonBenet” and Daniela Thomas’ “Vazante.” John Trengrove’s “The Wound” will open the section.
Read More: 5 Exciting Films in the 2017 Berlin Film Festival Competition Lineup
The festival says two prominent themes have emerged among the films. The first involves “Reclaiming Black History” or “a fresh historically reflective approach to the history of black people in North America, South America and Africa”; and the second is “Europa Europa,” or “how progressive forces might best defend themselves in light of a zeitgeist that makes it seem as if yesterday never went away.”
The Panorama titles are listed below with synopses and divided by theme. The festival will run from February 9 through 17.
In Focus: Reclaiming Black History
“Vazante” (Daniela Thomas, Brazil/Portugal); with Adriano Carvalho,...
Read More: 5 Exciting Films in the 2017 Berlin Film Festival Competition Lineup
The festival says two prominent themes have emerged among the films. The first involves “Reclaiming Black History” or “a fresh historically reflective approach to the history of black people in North America, South America and Africa”; and the second is “Europa Europa,” or “how progressive forces might best defend themselves in light of a zeitgeist that makes it seem as if yesterday never went away.”
The Panorama titles are listed below with synopses and divided by theme. The festival will run from February 9 through 17.
In Focus: Reclaiming Black History
“Vazante” (Daniela Thomas, Brazil/Portugal); with Adriano Carvalho,...
- 12/20/2016
- by Vikram Murthi
- Indiewire
Jason Solomons picks his all-time favourite high jinks on the Croisette
Madonna presents her bra, 1991Few people have seized the Palais des Festivals red carpet moment more memorably than Madonna, when the documentary In Bed with Madonna premiered in an out-of-competition slot. Wreathed in a cloak, she reached the top of the steps and turned to reveal that underneath she was wearing a Jean-Paul Gaultier conical bra. In 2005, French actress Sophie Marceau topped this with an "unintentional" wardrobe malfunction that briefly revealed her left breast.
Cannes canned, 1968
Surely the most dramatic year for this drama queen of world festivals was 1968, during the student riots, strikes and general unrest that spread around France from Paris. It led to directors Godard, Truffaut, Louis Malle, Polanski, Lelouch and Milos Forman calling press conferences, withdrawing films and demanding a shutdown in sympathy with the students. After two days of sit-ins, the festival called a halt to proceedings.
Madonna presents her bra, 1991Few people have seized the Palais des Festivals red carpet moment more memorably than Madonna, when the documentary In Bed with Madonna premiered in an out-of-competition slot. Wreathed in a cloak, she reached the top of the steps and turned to reveal that underneath she was wearing a Jean-Paul Gaultier conical bra. In 2005, French actress Sophie Marceau topped this with an "unintentional" wardrobe malfunction that briefly revealed her left breast.
Cannes canned, 1968
Surely the most dramatic year for this drama queen of world festivals was 1968, during the student riots, strikes and general unrest that spread around France from Paris. It led to directors Godard, Truffaut, Louis Malle, Polanski, Lelouch and Milos Forman calling press conferences, withdrawing films and demanding a shutdown in sympathy with the students. After two days of sit-ins, the festival called a halt to proceedings.
- 5/1/2010
- by Jason Solomons
- The Guardian - Film News
- Brazil's box office emulated that of the world with high-end box office receipts for The Chronicles of Narnia: Prince Caspian who has been number 1 for two weeks going taking away the spot from Indiana Jones and the Kingdom of the Crystal Skull, a film that had the limelight for one week stripping it away from Iron Man and its three week run at number one. Local Scene: Brazil This week, it was announced by one of the country's biggiest newspapers that Jose Padilha was producing a sequel to Tropa de Elite. This rumor was quickly put to rest by the producers of the movie, who claim , that at the moment, no one is actually involved in such a project. Rodrigo Pimentel (screenwriter of the first movie) would also be back and the movie would involve four new stories, including one of a reporter infiltrated on the squad. Hollywood Style.
- 6/16/2008
- IONCINEMA.com
The 61st Annual Cannes Film Festival wrapped this past Sunday, having been the scene of big Hollywood premieres like "Indiana Jones and the Kingdom of the Crystal Skull" and smaller but no less anticipated ones from filmmakers like the Dardenne brothers, Arnaud Desplechin and Atom Egoyan. In the end, it was a French film that won the Palme d'Or . the first homegrown feature to take the top prize since 1987's "Under Satan's Sun." The film, a late entry in the competition, was directed by Laurent Cantet, whose past work includes "Time Out" and "Heading South," and follows a year in the life of a teacher in an inner city Parisian school. Opening remarks from jury Sean Penn, who told the press that "We are going to feel very confident that the filmmaker of [the winning film] was very aware of the times within which he (or she) lives," had many guessing that one...
- 5/27/2008
- by Alison Willmore
- ifc.com
French film Entre Les Murs (The Class) has claimed the top prize at this year's Cannes International Film Festival.
The movie, based on an autobiographical novel by Francois Begaudeau, picked up the Palme d'Or for best picture at the festival on Sunday.
Directed by Laurent Cantet and set in a tough Paris school, the film was a clear favourite to land the top prize.
Cantet was joined by his cast of teenage actors as he collected the award.
The Grand Prix runner up prize went to Turkish director Nuri Bilge Ceylan's Three Monkeys, while Benicio del Toro claimed the Best Actor honour for his portrayal of revolutionary Ernesto 'Che' Guevara in biopic Che, and Linha de Passe (Line of Passage) star Sandra Corveloni took home the Best Actress gong.
The movie, based on an autobiographical novel by Francois Begaudeau, picked up the Palme d'Or for best picture at the festival on Sunday.
Directed by Laurent Cantet and set in a tough Paris school, the film was a clear favourite to land the top prize.
Cantet was joined by his cast of teenage actors as he collected the award.
The Grand Prix runner up prize went to Turkish director Nuri Bilge Ceylan's Three Monkeys, while Benicio del Toro claimed the Best Actor honour for his portrayal of revolutionary Ernesto 'Che' Guevara in biopic Che, and Linha de Passe (Line of Passage) star Sandra Corveloni took home the Best Actress gong.
- 5/25/2008
- WENN
Film Review: Linha de passe, Cannes, In Competition
Twelve years after co-directing "Foreign Land", filmmakers Walter Salles and Daniela Thomas have returned to update their portrait of urban Brazil, which they left in the economic throes of president Fernando Collor. "Linha de passe" is a far more successful film, both as a drama and in depicting the reality of growing up poor without no future in sight.
Using a mainly non-pro cast and a deeply realist style, it relies on a strong screenplay and a hard-driving rhythm to keep viewers interested in the interwoven stories of four brothers and their single mom. Comparisons to Luchino Visconti's "Rocco and His Brothers" are inevitable, but without name actors in the cast, this is not going to be as easy a commercial ride as Salles' cultish "The Motorcycle Diaries".
On the plus side, "Linha de passe" (a soccer term) has a great deal of strength and sincerity going for it, which should attract the kind of audiences who admired the sociological line of "Central Station". Set on the poverty-stricken outskirts of the Sao Paulo megalopolis, it traces one summer in the lives of Cleuza (Sandra Corveloni), a pregnant housemaid, her three teenage sons and her young Reginaldo (Kaique de Jesus Santos), son of a black bus driver. If you think of this remarkable child actor as the transformed character of the young Alain Delon, you begin to see how radically Visconti's film has been rethought.
Most audiences won't make that connection, of course, but will be caught up in the psychological struggles of the brothers, each battling his own demons. Dario (Vinicius De Oliveira, who played the lead in "Central Station") is a good soccer player who wants to go pro; Dinho (Jose Geraldo Rodrigues) plies the dangerous profession of motorcycle courier on Sao Paulo highways and has a baby with one of his girlfriends. The born-again Christian Denis (Joao Baldasserini), meanwhile, escapes into the unreal optimism of religion, while plucky little Reginaldo rides buses all day and night in search of his unknown father. In this fatherless society, where violence lurks around every corner, brotherhood becomes a path to salvation.
A growing sense of anxiety accompanies the boys as they spin through the cycle of football tryouts, work, sex, drugs and robberies, against an apocalyptic background of burning buses and stadium mania. While the exciting camerawork stays close to the action, a reflective musical comment pulls viewers back into reflectiveness. Film's climactic scenes achieve real power as each of the five characters is tested in rapid cutaways, to an ambiguously suspended ending that is still satisfying. Hats off to the fine ensemble acting, which is never over-stated and renders each family member intensely individual.
Cast: Sandra Corveloni, Joao Baldasserini, Jose Geraldo Rodigues, Vinicius de Oliveira, Kaique de Jesus Santos. Directors: Walter Salles, Daniela Thomas. Screenwriters: George Moura, Daniela Thomas. Executive producer: Francois Ivernel. Producers: Mauricio Andrade Ramos, Rebecca Yeldham. Director of photography: Mauro Pinheiro Jr.
Sales Agent: Pathe International, London
No MPAA rating. 115 minutes.
Twelve years after co-directing "Foreign Land", filmmakers Walter Salles and Daniela Thomas have returned to update their portrait of urban Brazil, which they left in the economic throes of president Fernando Collor. "Linha de passe" is a far more successful film, both as a drama and in depicting the reality of growing up poor without no future in sight.
Using a mainly non-pro cast and a deeply realist style, it relies on a strong screenplay and a hard-driving rhythm to keep viewers interested in the interwoven stories of four brothers and their single mom. Comparisons to Luchino Visconti's "Rocco and His Brothers" are inevitable, but without name actors in the cast, this is not going to be as easy a commercial ride as Salles' cultish "The Motorcycle Diaries".
On the plus side, "Linha de passe" (a soccer term) has a great deal of strength and sincerity going for it, which should attract the kind of audiences who admired the sociological line of "Central Station". Set on the poverty-stricken outskirts of the Sao Paulo megalopolis, it traces one summer in the lives of Cleuza (Sandra Corveloni), a pregnant housemaid, her three teenage sons and her young Reginaldo (Kaique de Jesus Santos), son of a black bus driver. If you think of this remarkable child actor as the transformed character of the young Alain Delon, you begin to see how radically Visconti's film has been rethought.
Most audiences won't make that connection, of course, but will be caught up in the psychological struggles of the brothers, each battling his own demons. Dario (Vinicius De Oliveira, who played the lead in "Central Station") is a good soccer player who wants to go pro; Dinho (Jose Geraldo Rodrigues) plies the dangerous profession of motorcycle courier on Sao Paulo highways and has a baby with one of his girlfriends. The born-again Christian Denis (Joao Baldasserini), meanwhile, escapes into the unreal optimism of religion, while plucky little Reginaldo rides buses all day and night in search of his unknown father. In this fatherless society, where violence lurks around every corner, brotherhood becomes a path to salvation.
A growing sense of anxiety accompanies the boys as they spin through the cycle of football tryouts, work, sex, drugs and robberies, against an apocalyptic background of burning buses and stadium mania. While the exciting camerawork stays close to the action, a reflective musical comment pulls viewers back into reflectiveness. Film's climactic scenes achieve real power as each of the five characters is tested in rapid cutaways, to an ambiguously suspended ending that is still satisfying. Hats off to the fine ensemble acting, which is never over-stated and renders each family member intensely individual.
Cast: Sandra Corveloni, Joao Baldasserini, Jose Geraldo Rodigues, Vinicius de Oliveira, Kaique de Jesus Santos. Directors: Walter Salles, Daniela Thomas. Screenwriters: George Moura, Daniela Thomas. Executive producer: Francois Ivernel. Producers: Mauricio Andrade Ramos, Rebecca Yeldham. Director of photography: Mauro Pinheiro Jr.
Sales Agent: Pathe International, London
No MPAA rating. 115 minutes.
- 5/17/2008
- The Hollywood Reporter - Movie News
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