After debuting at Busan and winning the Audience Award at Malaga’s Zonazine sidebar this August, Haroldo Borges and Ernesto Molinero’s “Son of Ox” has played at Malaga’s Spanish Screenings and will screen in competition at Mexico’s Guadalajara Festival, which kicked off Nov. 20.
The film follows a 13-year-old boy, João (João Pedro Dias), who lives in the Sertão outback in the northeast of Brazil where he cares for cattle under the repressive watch of his father (Luiz Carlos Vasconcelos). A broken relationship between father and son casts a feeling of isolation over João, who finds refuge under the tent of the arriving circus and the tender friendship he forms with one of the clowns (Vinicius Bustani).
Produced and co-written by Paula Gomes, it’s the first fiction feature by the collective Plano 3 Filmes, who distributes and handles international sales. The group, based out of Salvador de Bahía,...
The film follows a 13-year-old boy, João (João Pedro Dias), who lives in the Sertão outback in the northeast of Brazil where he cares for cattle under the repressive watch of his father (Luiz Carlos Vasconcelos). A broken relationship between father and son casts a feeling of isolation over João, who finds refuge under the tent of the arriving circus and the tender friendship he forms with one of the clowns (Vinicius Bustani).
Produced and co-written by Paula Gomes, it’s the first fiction feature by the collective Plano 3 Filmes, who distributes and handles international sales. The group, based out of Salvador de Bahía,...
- 11/20/2020
- by Emiliano Granada
- Variety Film + TV
New films by Agnieszka Holland, Agnes Varda and Isabel Coixet have been added to the official lineup of the upcoming Berlin Film Festival, along with special screenings of directorial debuts by British actor Chiwetel Ejiofor and “Narcos” star Wagner Moura of Brazil.
The Berlinale added 11 titles to its competition slate Thursday, representing countries such as China, Norway, Mongolia and Israel. Of the 18 competition titles selected so far, eight are directed by women, including festival opener “The Kindness of Strangers,” by Danish director Lone Scherfig.
Holland’s eagerly anticipated “Mr. Jones,” starring James Norton and Vanessa Kirby, will have its world premiere in Potsdamer Platz. The politically charged film centers on the real-life Welsh journalist Gareth Jones (Norton), whose reporting uncovered a deadly famine in Ukraine in the 1930s.
Another famine-themed film heading to Berlin is Ejiofor’s “The Boy Who Harnessed the Wind,” which was recently acquired by Netflix and...
The Berlinale added 11 titles to its competition slate Thursday, representing countries such as China, Norway, Mongolia and Israel. Of the 18 competition titles selected so far, eight are directed by women, including festival opener “The Kindness of Strangers,” by Danish director Lone Scherfig.
Holland’s eagerly anticipated “Mr. Jones,” starring James Norton and Vanessa Kirby, will have its world premiere in Potsdamer Platz. The politically charged film centers on the real-life Welsh journalist Gareth Jones (Norton), whose reporting uncovered a deadly famine in Ukraine in the 1930s.
Another famine-themed film heading to Berlin is Ejiofor’s “The Boy Who Harnessed the Wind,” which was recently acquired by Netflix and...
- 1/10/2019
- by Henry Chu
- Variety Film + TV
The Berlin Film Festival has added movies by Agnès Varda, Agnieszka Holland, Hans Petter Moland, Isabel Coixet and Wang Quan’an to its competition programme. Chiwetel Ejiofor’s directorial debut The Boy Who Harnessed The Wind will play in the Berlinale Special strand. Scroll down for the full list of additions to the batch of films already announced for the competition.
Coixet’s (The Bookshop) black-and-white feature Elisa & Marcela, the true-story of two women who got married in Spain in 1901 after one adopted a male identity, will likely receive an extra dose of media attention given that it is a Netflix acquisition, marking the streaming giant’s first film to screen in competition in Berlin. Festival director Dieter Kosslick has previously said that competition films must have a theatrical release.
Among other highlights announced today are James Norton and Vanessa Kirby starrer Mr. Jones from Polish director Agnieszka Holland and Italian mafia pic Piranhas,...
Coixet’s (The Bookshop) black-and-white feature Elisa & Marcela, the true-story of two women who got married in Spain in 1901 after one adopted a male identity, will likely receive an extra dose of media attention given that it is a Netflix acquisition, marking the streaming giant’s first film to screen in competition in Berlin. Festival director Dieter Kosslick has previously said that competition films must have a theatrical release.
Among other highlights announced today are James Norton and Vanessa Kirby starrer Mr. Jones from Polish director Agnieszka Holland and Italian mafia pic Piranhas,...
- 1/10/2019
- by Andreas Wiseman
- Deadline Film + TV
A worthy but somewhat less-than-satisfying follow-up to the Oscar-nominated "Central Station", Brazilian director Walter Salles and producer Arthur Cohn's "Behind the Sun" is a somber tale of a blood feud depicted as an endless cycle of ritual violence. Distributor Miramax can count on Salles' name to lure dedicated cineastes for limited engagements, but "Sun" is probably not destined for boxoffice or awards vindication.
Inspired by Ismail Kadare's novel "Broken April", set in Albania, Salles and co-writers Sergio Machado and Karim Ainouz have fashioned a widescreen period drama that holds one's attention but comes up short as a cinematic experience that will resonate strongly with all viewers.
Transporting Kadare's original to the Inhamuns Badlands in northern Brazil's Ceara state, "Sun" plays like a lengthy short story or a short novella stretched to feature length. There are a handful of characters and few plot points that entail long scenes. As with his previous film, Salles tells much of the story with minimal dialogue and proves again to be a very talented visual artist.
What's missing in the film is the one character who can command the same attention as the film's technical virtues, while the horrid atmosphere of dread that hangs over the film is predictably destined to be broken. One comes away from the film in perhaps a gloomier mood than was intended, however, because there is nobody to enthusiastically root for. It's more a case of just hoping one or two folk survive the carnage.
The Breves family was once a proud supplier of sugar in the desert-y nowhere they call home, but the decline began with the abolition of slavery, and now the reigning patriarch (Jose Dumont) is forced to drive the oxen himself at the old mill where the sugar is processed. A very hard man who proudly remembers his many brothers and uncles who died defending the family's honor, this nameless father has a 20-year-old son, Tonho (Rodrigo Santoro), who is next in line to gun down one of the hated Ferreiras family. Tonho's younger brother Ravi Ramos Lacerda), who doesn't have a name -- his father and mother (Rita Assemany) call him "kid" -- has nightmares of the latest murder that needs avenging, but he doesn't want his older sibling to become a killer.
Nonetheless, once the blood on the shirt worn by the victim turns yellow, Tonho is sent on his mission of assassination. He succeeds and must wait for his demise, prohibited from leaving by his psychotic father. Enter a wandering pair of circus entertainers, Salustiano Luiz Carlos Vasconcelos) and Clara Flavia Marco Antonio). The latter is a multitalented beauty who responds to Tonho's obvious infatuation, while her companion refuses to keep calling the younger boy "kid" and gives him the name Pacu.
A little romance and playfulness with swings and circus ropes provide an upbeat contrast to Tonho and Pacu's doomed-to-die-young fates, but it takes an unexpected tragedy and stronger-than-hate familial love to break the death cycle. Newcomer Lacerda, Dumont, Santoro and real-life circus performer Antonio are skilled at making their minimal characters fully dimensional, but the darkly atmospheric movie's biggest stars are Salles, cinematographer Walter Carvalho, soundman Felix Andrew and composer Antonio Pinto.
BEHIND THE SUN
Miramax Films
An Arthur Cohn production
Director: Walter Salles
Producer: Arthur Cohn
Screenwriters: Walter Salles, Sergio Machado, Karim Ainouz
Inspired by the novel "Broken April" by: Ismail Kadare
Executive producers: Mauricio Andrade Ramos, Lillian Birnbaum
Director of photography: Walter Carvalho
Art director: Cassio Amarante
Editor: Isabelle Rathery
Sound designer: Felix Andrew
Costume designer: Cao Albuquerque
Music: Antonio Pinto
Color/stereo
Cast:
Father: Jose Dumont
Tonho: Rodrigo Santoro
Pacu: Ravi Ramos Lacerda
Clara: Flavia Marco Antonio
Mother: Rita Assemany
Salustiano: Luiz Carlos Vasconcelos
Running time -- 90 minutes
MPAA...
Inspired by Ismail Kadare's novel "Broken April", set in Albania, Salles and co-writers Sergio Machado and Karim Ainouz have fashioned a widescreen period drama that holds one's attention but comes up short as a cinematic experience that will resonate strongly with all viewers.
Transporting Kadare's original to the Inhamuns Badlands in northern Brazil's Ceara state, "Sun" plays like a lengthy short story or a short novella stretched to feature length. There are a handful of characters and few plot points that entail long scenes. As with his previous film, Salles tells much of the story with minimal dialogue and proves again to be a very talented visual artist.
What's missing in the film is the one character who can command the same attention as the film's technical virtues, while the horrid atmosphere of dread that hangs over the film is predictably destined to be broken. One comes away from the film in perhaps a gloomier mood than was intended, however, because there is nobody to enthusiastically root for. It's more a case of just hoping one or two folk survive the carnage.
The Breves family was once a proud supplier of sugar in the desert-y nowhere they call home, but the decline began with the abolition of slavery, and now the reigning patriarch (Jose Dumont) is forced to drive the oxen himself at the old mill where the sugar is processed. A very hard man who proudly remembers his many brothers and uncles who died defending the family's honor, this nameless father has a 20-year-old son, Tonho (Rodrigo Santoro), who is next in line to gun down one of the hated Ferreiras family. Tonho's younger brother Ravi Ramos Lacerda), who doesn't have a name -- his father and mother (Rita Assemany) call him "kid" -- has nightmares of the latest murder that needs avenging, but he doesn't want his older sibling to become a killer.
Nonetheless, once the blood on the shirt worn by the victim turns yellow, Tonho is sent on his mission of assassination. He succeeds and must wait for his demise, prohibited from leaving by his psychotic father. Enter a wandering pair of circus entertainers, Salustiano Luiz Carlos Vasconcelos) and Clara Flavia Marco Antonio). The latter is a multitalented beauty who responds to Tonho's obvious infatuation, while her companion refuses to keep calling the younger boy "kid" and gives him the name Pacu.
A little romance and playfulness with swings and circus ropes provide an upbeat contrast to Tonho and Pacu's doomed-to-die-young fates, but it takes an unexpected tragedy and stronger-than-hate familial love to break the death cycle. Newcomer Lacerda, Dumont, Santoro and real-life circus performer Antonio are skilled at making their minimal characters fully dimensional, but the darkly atmospheric movie's biggest stars are Salles, cinematographer Walter Carvalho, soundman Felix Andrew and composer Antonio Pinto.
BEHIND THE SUN
Miramax Films
An Arthur Cohn production
Director: Walter Salles
Producer: Arthur Cohn
Screenwriters: Walter Salles, Sergio Machado, Karim Ainouz
Inspired by the novel "Broken April" by: Ismail Kadare
Executive producers: Mauricio Andrade Ramos, Lillian Birnbaum
Director of photography: Walter Carvalho
Art director: Cassio Amarante
Editor: Isabelle Rathery
Sound designer: Felix Andrew
Costume designer: Cao Albuquerque
Music: Antonio Pinto
Color/stereo
Cast:
Father: Jose Dumont
Tonho: Rodrigo Santoro
Pacu: Ravi Ramos Lacerda
Clara: Flavia Marco Antonio
Mother: Rita Assemany
Salustiano: Luiz Carlos Vasconcelos
Running time -- 90 minutes
MPAA...
A worthy but somewhat less-than-satisfying follow-up to the Oscar-nominated "Central Station", Brazilian director Walter Salles and producer Arthur Cohn's "Behind the Sun" is a somber tale of a blood feud depicted as an endless cycle of ritual violence. Distributor Miramax can count on Salles' name to lure dedicated cineastes for limited engagements, but "Sun" is probably not destined for boxoffice or awards vindication.
Inspired by Ismail Kadare's novel "Broken April", set in Albania, Salles and co-writers Sergio Machado and Karim Ainouz have fashioned a widescreen period drama that holds one's attention but comes up short as a cinematic experience that will resonate strongly with all viewers.
Transporting Kadare's original to the Inhamuns Badlands in northern Brazil's Ceara state, "Sun" plays like a lengthy short story or a short novella stretched to feature length. There are a handful of characters and few plot points that entail long scenes. As with his previous film, Salles tells much of the story with minimal dialogue and proves again to be a very talented visual artist.
What's missing in the film is the one character who can command the same attention as the film's technical virtues, while the horrid atmosphere of dread that hangs over the film is predictably destined to be broken. One comes away from the film in perhaps a gloomier mood than was intended, however, because there is nobody to enthusiastically root for. It's more a case of just hoping one or two folk survive the carnage.
The Breves family was once a proud supplier of sugar in the desert-y nowhere they call home, but the decline began with the abolition of slavery, and now the reigning patriarch (Jose Dumont) is forced to drive the oxen himself at the old mill where the sugar is processed. A very hard man who proudly remembers his many brothers and uncles who died defending the family's honor, this nameless father has a 20-year-old son, Tonho (Rodrigo Santoro), who is next in line to gun down one of the hated Ferreiras family. Tonho's younger brother Ravi Ramos Lacerda), who doesn't have a name -- his father and mother (Rita Assemany) call him "kid" -- has nightmares of the latest murder that needs avenging, but he doesn't want his older sibling to become a killer.
Nonetheless, once the blood on the shirt worn by the victim turns yellow, Tonho is sent on his mission of assassination. He succeeds and must wait for his demise, prohibited from leaving by his psychotic father. Enter a wandering pair of circus entertainers, Salustiano Luiz Carlos Vasconcelos) and Clara Flavia Marco Antonio). The latter is a multitalented beauty who responds to Tonho's obvious infatuation, while her companion refuses to keep calling the younger boy "kid" and gives him the name Pacu.
A little romance and playfulness with swings and circus ropes provide an upbeat contrast to Tonho and Pacu's doomed-to-die-young fates, but it takes an unexpected tragedy and stronger-than-hate familial love to break the death cycle. Newcomer Lacerda, Dumont, Santoro and real-life circus performer Antonio are skilled at making their minimal characters fully dimensional, but the darkly atmospheric movie's biggest stars are Salles, cinematographer Walter Carvalho, soundman Felix Andrew and composer Antonio Pinto.
BEHIND THE SUN
Miramax Films
An Arthur Cohn production
Director: Walter Salles
Producer: Arthur Cohn
Screenwriters: Walter Salles, Sergio Machado, Karim Ainouz
Inspired by the novel "Broken April" by: Ismail Kadare
Executive producers: Mauricio Andrade Ramos, Lillian Birnbaum
Director of photography: Walter Carvalho
Art director: Cassio Amarante
Editor: Isabelle Rathery
Sound designer: Felix Andrew
Costume designer: Cao Albuquerque
Music: Antonio Pinto
Color/stereo
Cast:
Father: Jose Dumont
Tonho: Rodrigo Santoro
Pacu: Ravi Ramos Lacerda
Clara: Flavia Marco Antonio
Mother: Rita Assemany
Salustiano: Luiz Carlos Vasconcelos
Running time -- 90 minutes
MPAA...
Inspired by Ismail Kadare's novel "Broken April", set in Albania, Salles and co-writers Sergio Machado and Karim Ainouz have fashioned a widescreen period drama that holds one's attention but comes up short as a cinematic experience that will resonate strongly with all viewers.
Transporting Kadare's original to the Inhamuns Badlands in northern Brazil's Ceara state, "Sun" plays like a lengthy short story or a short novella stretched to feature length. There are a handful of characters and few plot points that entail long scenes. As with his previous film, Salles tells much of the story with minimal dialogue and proves again to be a very talented visual artist.
What's missing in the film is the one character who can command the same attention as the film's technical virtues, while the horrid atmosphere of dread that hangs over the film is predictably destined to be broken. One comes away from the film in perhaps a gloomier mood than was intended, however, because there is nobody to enthusiastically root for. It's more a case of just hoping one or two folk survive the carnage.
The Breves family was once a proud supplier of sugar in the desert-y nowhere they call home, but the decline began with the abolition of slavery, and now the reigning patriarch (Jose Dumont) is forced to drive the oxen himself at the old mill where the sugar is processed. A very hard man who proudly remembers his many brothers and uncles who died defending the family's honor, this nameless father has a 20-year-old son, Tonho (Rodrigo Santoro), who is next in line to gun down one of the hated Ferreiras family. Tonho's younger brother Ravi Ramos Lacerda), who doesn't have a name -- his father and mother (Rita Assemany) call him "kid" -- has nightmares of the latest murder that needs avenging, but he doesn't want his older sibling to become a killer.
Nonetheless, once the blood on the shirt worn by the victim turns yellow, Tonho is sent on his mission of assassination. He succeeds and must wait for his demise, prohibited from leaving by his psychotic father. Enter a wandering pair of circus entertainers, Salustiano Luiz Carlos Vasconcelos) and Clara Flavia Marco Antonio). The latter is a multitalented beauty who responds to Tonho's obvious infatuation, while her companion refuses to keep calling the younger boy "kid" and gives him the name Pacu.
A little romance and playfulness with swings and circus ropes provide an upbeat contrast to Tonho and Pacu's doomed-to-die-young fates, but it takes an unexpected tragedy and stronger-than-hate familial love to break the death cycle. Newcomer Lacerda, Dumont, Santoro and real-life circus performer Antonio are skilled at making their minimal characters fully dimensional, but the darkly atmospheric movie's biggest stars are Salles, cinematographer Walter Carvalho, soundman Felix Andrew and composer Antonio Pinto.
BEHIND THE SUN
Miramax Films
An Arthur Cohn production
Director: Walter Salles
Producer: Arthur Cohn
Screenwriters: Walter Salles, Sergio Machado, Karim Ainouz
Inspired by the novel "Broken April" by: Ismail Kadare
Executive producers: Mauricio Andrade Ramos, Lillian Birnbaum
Director of photography: Walter Carvalho
Art director: Cassio Amarante
Editor: Isabelle Rathery
Sound designer: Felix Andrew
Costume designer: Cao Albuquerque
Music: Antonio Pinto
Color/stereo
Cast:
Father: Jose Dumont
Tonho: Rodrigo Santoro
Pacu: Ravi Ramos Lacerda
Clara: Flavia Marco Antonio
Mother: Rita Assemany
Salustiano: Luiz Carlos Vasconcelos
Running time -- 90 minutes
MPAA...
- 12/12/2001
- The Hollywood Reporter - Movie News
Released slightly too late to cash in on recent millennium fever, "Midnight", a short feature by Brazilian directors Walter Salles and Daniela Thomas, is most notable for being Salles' first film after his award-winning international hit "Central Station".
Part of the "2000 Seen By" series of films by notable directors dealing with the advent of the millennium and produced by Haut et Court for Arte Television, "Midnight" is a slight effort that will make little commercial impact. It opens Friday for a theatrical run at New York's Screening Room.
The film chronicles the activities of various residents of Rio de Janeiro, Brazil, during the star-crossed final day of the century. These include Maria Fernanda Torres), who despairs after she's left suddenly by her live-in lover; Chico (Matheus Nachtergaele), a criminal informer threatening to rat out one of his partners; and Joao Luiz Carlos Vasconcelos), who gets help busting out of prison on the condition that he murder Chico. While Maria contemplates suicide as a way to end her suffering, Joao seeks out his victim so he can fulfill his contract. Inevitably, he and Maria cross paths as the clock strikes midnight.
Although ambitious in its interweaving of characters and situations, "Midnight" never achieves any narrative steam and is far too cliche-laden for its melodramatic plot turns to have resonance. There are interesting touches throughout, such as Chico's encounter with an alley bum who imitates a dog and Joao's meeting with an elderly prison inmate whose collapse precipitates his escape, but the film seems entirely too eager to present images of millennium quirkiness. It is best appreciated for its realistic performances and the many views it provides of Rio's landscapes.
MIDNIGHT
Winstar Cinema
Directors:Daniela Thomas, Walter Salles
Screenwriters:Daniela Thomas, Walter Salles, Emanuel Carneiro
Director of photography:Walter Carvalho
Editor:Felipe Lacerda
Art director:Carla Caffe
Music:Antonio Pinto, Eduardo Bid, Nana Vasconcellos
Color/stereo
Cast:
Maria:Fernanda Torres
Joao:Luiz Carlos Vasconcelos
Chico:Matheus Nachtergaele
Vovo:Nelson Sargento
Pedro:Carlos Vereza
Running time -- 72 minutes
No MPAA rating...
Part of the "2000 Seen By" series of films by notable directors dealing with the advent of the millennium and produced by Haut et Court for Arte Television, "Midnight" is a slight effort that will make little commercial impact. It opens Friday for a theatrical run at New York's Screening Room.
The film chronicles the activities of various residents of Rio de Janeiro, Brazil, during the star-crossed final day of the century. These include Maria Fernanda Torres), who despairs after she's left suddenly by her live-in lover; Chico (Matheus Nachtergaele), a criminal informer threatening to rat out one of his partners; and Joao Luiz Carlos Vasconcelos), who gets help busting out of prison on the condition that he murder Chico. While Maria contemplates suicide as a way to end her suffering, Joao seeks out his victim so he can fulfill his contract. Inevitably, he and Maria cross paths as the clock strikes midnight.
Although ambitious in its interweaving of characters and situations, "Midnight" never achieves any narrative steam and is far too cliche-laden for its melodramatic plot turns to have resonance. There are interesting touches throughout, such as Chico's encounter with an alley bum who imitates a dog and Joao's meeting with an elderly prison inmate whose collapse precipitates his escape, but the film seems entirely too eager to present images of millennium quirkiness. It is best appreciated for its realistic performances and the many views it provides of Rio's landscapes.
MIDNIGHT
Winstar Cinema
Directors:Daniela Thomas, Walter Salles
Screenwriters:Daniela Thomas, Walter Salles, Emanuel Carneiro
Director of photography:Walter Carvalho
Editor:Felipe Lacerda
Art director:Carla Caffe
Music:Antonio Pinto, Eduardo Bid, Nana Vasconcellos
Color/stereo
Cast:
Maria:Fernanda Torres
Joao:Luiz Carlos Vasconcelos
Chico:Matheus Nachtergaele
Vovo:Nelson Sargento
Pedro:Carlos Vereza
Running time -- 72 minutes
No MPAA rating...
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