Exclusive: Out of the Cannes market, Sony Pictures Classics has bought North American rights and a raft of international territories on Walter Salles’ anticipated first narrative feature in more than a decade: I’m Still Here.
In I’m Still Here, the acclaimed Brazilian filmmaker, known for critical hits such as Oscar nominee Central Station and The Motorcycle Diaries, has tackled the emotional and powerful true story of a woman who is forced into activism after her husband is captured by the military regime in Brazil in the 1960s.
The film reunites Salles with his Oscar-nominated Central Station star Fernanda Montenegro, one of Brazil’s most acclaimed actors, and her daughter Fernanda Torres, with whom the filmmaker has worked multiple times. It also reunites the filmmaker with SPC who previously released 1998 hit Central Station, which won the Berlin Golden Bear and was also nominated for the Best Foreign Language Film Oscar. Montenegro...
In I’m Still Here, the acclaimed Brazilian filmmaker, known for critical hits such as Oscar nominee Central Station and The Motorcycle Diaries, has tackled the emotional and powerful true story of a woman who is forced into activism after her husband is captured by the military regime in Brazil in the 1960s.
The film reunites Salles with his Oscar-nominated Central Station star Fernanda Montenegro, one of Brazil’s most acclaimed actors, and her daughter Fernanda Torres, with whom the filmmaker has worked multiple times. It also reunites the filmmaker with SPC who previously released 1998 hit Central Station, which won the Berlin Golden Bear and was also nominated for the Best Foreign Language Film Oscar. Montenegro...
- 5/28/2024
- by Andreas Wiseman
- Deadline Film + TV
Brazilian TV behemoth Globo presented its world premiere preview of Brazilian series “Justice: Misconduct” at Content Americas, while also spotlighting its 2024 slate, presenting via sleek fast-paced sizzle reels its array of ever popular telenovelas such as “Crossed Paths,” “Land of Desire,” and “Perfect Love” alongside teasing the continuation of its successful “Justice” series.
“Justice: Misconduct,” the series created by Manuela Dias, is a narrative of moral complexity and human connection framed by the dilemmas surrounding the notion of justice.
Season 1 debuted in 2016. Set against the richly textured backdrop of Recife in Brazil, the series unfolded through interconnected stories of characters navigating the turbulent waters of justice and redemption. Season 2 takes that success, building four new stories through its run. It switches geography too, an idea from director of the series Gustavo Fernández, placing the stories in Ceilândia, Brasilia and its environs. The first season’s success was highlighted by its...
“Justice: Misconduct,” the series created by Manuela Dias, is a narrative of moral complexity and human connection framed by the dilemmas surrounding the notion of justice.
Season 1 debuted in 2016. Set against the richly textured backdrop of Recife in Brazil, the series unfolded through interconnected stories of characters navigating the turbulent waters of justice and redemption. Season 2 takes that success, building four new stories through its run. It switches geography too, an idea from director of the series Gustavo Fernández, placing the stories in Ceilândia, Brasilia and its environs. The first season’s success was highlighted by its...
- 1/24/2024
- by Callum McLennan
- Variety Film + TV
Gullane, the Brazilian producer of Marco Bellocchio’s Cannes competition player “The Traitor,” has linked with production partners for anticipated projects by two of Brazil’s highest-profile auteurs: Karim Ainouz and Fernando Coimbra.
In further news, Luiz Bolognesi, writer-director of Annecy winner “Rio 2096,” is leading “Senna,” Gullane’s biggest movie project to date, a live-action biopic of the Formula One legend.
On “Neon River,” the English-language debut and biggest-scale movie ever of Ainouz, whose Rodrigo Teixeira-produced “Invisible Life” world premieres in Cannes Un Certain Regard this week, Gullane will co-produce with Germany’s Match Factory Prods. and Japan’s Bitters End.
A romantic action-thriller set in Tokyo’s near-future underworld, “Neon River” has been adapted by Ainouz and the U.K.’s Toby Finlay. Sergio Machado, director of Brazil’s biggest animated movie “Noah’s Ark,” which Gullane is producing with Walter Salles, is writing the latest screenplay version.
In further news, Luiz Bolognesi, writer-director of Annecy winner “Rio 2096,” is leading “Senna,” Gullane’s biggest movie project to date, a live-action biopic of the Formula One legend.
On “Neon River,” the English-language debut and biggest-scale movie ever of Ainouz, whose Rodrigo Teixeira-produced “Invisible Life” world premieres in Cannes Un Certain Regard this week, Gullane will co-produce with Germany’s Match Factory Prods. and Japan’s Bitters End.
A romantic action-thriller set in Tokyo’s near-future underworld, “Neon River” has been adapted by Ainouz and the U.K.’s Toby Finlay. Sergio Machado, director of Brazil’s biggest animated movie “Noah’s Ark,” which Gullane is producing with Walter Salles, is writing the latest screenplay version.
- 5/19/2019
- by John Hopewell
- Variety Film + TV
Fernanda Torres (Cannes best actress prize winner for “Love Me Forever or Never”) is attached to star in “The Hanged,” the second Brazilian feature of Fernando Coimbra, which is set up at Brazilian shingle Gullane.
Co-produced by Globo Filmes and Brazilian pay TV channel Telecine, “The Hanged” is a “tragic action thriller,” producer Fabiano Gullane said in Cannes. It centers on a married couple: Regina, from one of Rio de Janeiro’s most important (but bankrupt) families and Valerio, a mobster. Impelled by ambition, they kill Valerio’s uncle to grab a slice of Rio’s illegal gambling racket.
While a by-the-book police chief investigates corrupt cops with links to the city’s underworld, the murder sparks a turf war contaminating Valerio and Regina’s trust, driving their growing sense of paranoia, and leading to what the film’s synopsis calls a tragic outcome and “an operatic and insane bloodbath.
Co-produced by Globo Filmes and Brazilian pay TV channel Telecine, “The Hanged” is a “tragic action thriller,” producer Fabiano Gullane said in Cannes. It centers on a married couple: Regina, from one of Rio de Janeiro’s most important (but bankrupt) families and Valerio, a mobster. Impelled by ambition, they kill Valerio’s uncle to grab a slice of Rio’s illegal gambling racket.
While a by-the-book police chief investigates corrupt cops with links to the city’s underworld, the murder sparks a turf war contaminating Valerio and Regina’s trust, driving their growing sense of paranoia, and leading to what the film’s synopsis calls a tragic outcome and “an operatic and insane bloodbath.
- 5/13/2018
- by John Hopewell
- Variety Film + TV
1998 Best Actress Academy Award nominee stages a political protest -- a 'lesbian kiss' -- at an awards ceremony in Rio de Janeiro Forget Madonna and Britney Spears, Sandra Bullock and Meryl Streep, Bullock and Scarlett Johansson, and Robert Pattinson and Taylor Lautner. Veteran Brazilian actress Fernanda Montenegro, best known around the world for her performance as a bitter old hag in Walter Salles' 1998 drama Central Station, which earned her a Best Actress Oscar nod, kissed fellow veteran performer Camila Amado in the mouth at Rio de Janeiro's Theater Producers Association Awards ceremony, which took place in that Brazilian city this past Monday, March 25. (Pictured above: Montenegro kissing Amado.) The mouth-to-mouth kiss between the 83-year-old Montenegro and the 77-year-old Amado, followed a previous "gay kiss" also staged at the awards show -- that one between performers Ricardo Blat and Tonico Pereira. All that kissing wasn't intended to merely liven up...
- 3/31/2013
- by Andre Soares
- Alt Film Guide
The House of Sand
Directed by: Andrucha Waddington
Written by: Elena Soarez
Starring: Fernanda Montenegro, Fernanda Torres
Genre: Drama
Year: 2005
There are not many films today, even within art cinema, where a sense of place takes precedent over the mechanics of plot. In The House of Sand, the shimmering white sands of Maranhão, along Brazil’s Northern coast, are as much of a character as the mother and daughter who reluctantly make them their home.
In 1910, pregnant Áurea, with her husband Vasco leading the way and her mother Dona Maria in toe, arrives in a makeshift town among the dunes to start a new life. Soon, Vasco is killed in a freak accident, leaving the two women to fend for their selves. Miles from civilization, the elements and Áurea’s impending birth strand the two women indefinitely. While Áurea longs to leave the wretched land, her mother is content to stay,...
Directed by: Andrucha Waddington
Written by: Elena Soarez
Starring: Fernanda Montenegro, Fernanda Torres
Genre: Drama
Year: 2005
There are not many films today, even within art cinema, where a sense of place takes precedent over the mechanics of plot. In The House of Sand, the shimmering white sands of Maranhão, along Brazil’s Northern coast, are as much of a character as the mother and daughter who reluctantly make them their home.
In 1910, pregnant Áurea, with her husband Vasco leading the way and her mother Dona Maria in toe, arrives in a makeshift town among the dunes to start a new life. Soon, Vasco is killed in a freak accident, leaving the two women to fend for their selves. Miles from civilization, the elements and Áurea’s impending birth strand the two women indefinitely. While Áurea longs to leave the wretched land, her mother is content to stay,...
- 5/25/2011
- by Shane Ramirez
- SoundOnSight
The filmmaker behind Me You Them (2000) and the lush The House of Sand (loved the creative use of thesps Fernanda Montenegro and Fernanda Torres) directed a shot-in-Spain pic titled Lope, about the early Golden Age of theater which housed spirited romantic comedies. - No trailers and just one pic folks to show for Andrucha Waddington's to be released sometime in 2010 period pic. The filmmaker behind Me You Them (2000) and the lush The House of Sand (loved the creative use of thesps Fernanda Montenegro and Fernanda Torres) directed a shot-in-Spain pic titled Lope, about the early Golden Age of theater which housed spirited romantic comedies. This is set in 1588 when Lope de Vega is forced to choose between a relationship with a woman who can advance his career and another who represents true love. Here's a hardcore wiki listing on Lope himself, and our preview page which gives you a...
- 12/13/2009
- by Ioncinema.com Staff
- IONCINEMA.com
PARK CITY -- Inspired by "Women of the Dunes", perhaps the most famous film about the ravages of the desert, and a newspaper photograph of a house buried by sand, "House of Sand" is an intriguing meditation on aging, the impermanence of time and man's place in nature. Well-crafted film by Brazilian Andrucha Waddington ("Me You Them") follows the fate of three generations of women over sixty years. It's definitely not a movie for the multiplex, but could generate some interest among sophisticated moviegoers.
Film opens in 1910 with a rag-tag caravan of settlers led by the half-crazed Vasco de Sa (Ray Guerra) arriving at a desolate plot of land on the edge of the desert on the coast of northern Brazil. A barren landscape of wind-swept sand dunes, this for Vasco is the promise land. For his wife Aurea (Fernanda Torres) and her mother Maria Fernanda Montenegro) it's hell.
When Vasco's men abandon the mission and the old man gets crushed under the fallen timbers of a shack he's building, the women are left to fend for themselves in this no-women's land. Fortunately, Massu (Luiz Moldia), part of a settlement of freed slaves living nearby, gives them fish and other necessities. Aurea misses the music and culture of her native Rio and is desperate to return, but she's pregnant and has to pass up a chance to leave with a traveling merchant, a chance that might not come again.
All there is to do in this forgotten land is watch the basic elements at play--the wind, the sun, the stars--and mark the pure passage of time. In that way ten years go by before a group of international scientists arrive to study a solar eclipse. Again Aurea plans her escape, but time is not on her side and the scientists leave without her.
Although there is not a lot of action, Waddington and editor Sergio Mekler find the rhythms in a daily live pared down to its essentials. Like an hourglass, the sand slowly moves and buries the house little by little. And before you know it, Aurea has become as old as her mother and her daughter has become her age, a passage visualized by the actors trading roles. It's a bold juxtaposition that makes the passage of time concrete.
Aurea's daughter Maria, now played by Torres, is grown up and as eager to leave as her mother was. For her part, Aurea has made peace with her fate and settled in to semi-domesticity with Massu and his son. When a battalion of soldiers arrives to investigate a plane crash, it is Maria who leaves with them, leading to a teary good bye with her mother. But Waddington has one more clever and profoundly moving twist up his sleeve that allows the cycle to come full circle.
"House of Sand" is like a chamber piece for these two women played out on a grand outdoor stage. It's as if these extraordinarily expressive faces become a part of the natural landscape. Interestingly, Montenegro and Torres are mother and daughter in real life and perhaps that gives their work here an extra dose of reality. In any case, they are wonderfully watchable performances.
Camerawork by Ricardo Della Rosa captures the raw beauty of nature, and the creative and destructive march of time. Deliberate pace may turn off some viewers, but for those who are not too impatient, the journey is more than worth it.
HOUSE OF SAND
Sony Pictures Classics
Columbia TriStar Filmes do Brasil, Conspiracao Filmes, Globo Filmes, Quanta Centro de Producoes, Teleimage
Credits:
Director: Andrucha Waddington
Writer: Eleana Soarez
Producers: Leonardo Monteiro de Barros, Pedro Buarque de Hollanda, Pedro Guimaraes, Andrucha Waddington
Director of photography: Ricardo Della Rosa
Production designer: Tule Peake
Music: Joao Barone, Carlo Bartolini
Costume designer, Claudia Kopke
Editor: Sergio Mekler.
Cast:
Aurea/Maria (young): Fernanda Torres
Maria/Aurea (old): Fernanda Montenegro
Vasco de Sa: Ruy Guerra
Massu: Seu Jorge
Massu (old): Luiz Melodia
Luiz: Enrique Diaz
Luiz (old): Stenio Garcia
Chico: Emiliano Queiroz
No MPAA rating
Running time -- 114 minutes...
Film opens in 1910 with a rag-tag caravan of settlers led by the half-crazed Vasco de Sa (Ray Guerra) arriving at a desolate plot of land on the edge of the desert on the coast of northern Brazil. A barren landscape of wind-swept sand dunes, this for Vasco is the promise land. For his wife Aurea (Fernanda Torres) and her mother Maria Fernanda Montenegro) it's hell.
When Vasco's men abandon the mission and the old man gets crushed under the fallen timbers of a shack he's building, the women are left to fend for themselves in this no-women's land. Fortunately, Massu (Luiz Moldia), part of a settlement of freed slaves living nearby, gives them fish and other necessities. Aurea misses the music and culture of her native Rio and is desperate to return, but she's pregnant and has to pass up a chance to leave with a traveling merchant, a chance that might not come again.
All there is to do in this forgotten land is watch the basic elements at play--the wind, the sun, the stars--and mark the pure passage of time. In that way ten years go by before a group of international scientists arrive to study a solar eclipse. Again Aurea plans her escape, but time is not on her side and the scientists leave without her.
Although there is not a lot of action, Waddington and editor Sergio Mekler find the rhythms in a daily live pared down to its essentials. Like an hourglass, the sand slowly moves and buries the house little by little. And before you know it, Aurea has become as old as her mother and her daughter has become her age, a passage visualized by the actors trading roles. It's a bold juxtaposition that makes the passage of time concrete.
Aurea's daughter Maria, now played by Torres, is grown up and as eager to leave as her mother was. For her part, Aurea has made peace with her fate and settled in to semi-domesticity with Massu and his son. When a battalion of soldiers arrives to investigate a plane crash, it is Maria who leaves with them, leading to a teary good bye with her mother. But Waddington has one more clever and profoundly moving twist up his sleeve that allows the cycle to come full circle.
"House of Sand" is like a chamber piece for these two women played out on a grand outdoor stage. It's as if these extraordinarily expressive faces become a part of the natural landscape. Interestingly, Montenegro and Torres are mother and daughter in real life and perhaps that gives their work here an extra dose of reality. In any case, they are wonderfully watchable performances.
Camerawork by Ricardo Della Rosa captures the raw beauty of nature, and the creative and destructive march of time. Deliberate pace may turn off some viewers, but for those who are not too impatient, the journey is more than worth it.
HOUSE OF SAND
Sony Pictures Classics
Columbia TriStar Filmes do Brasil, Conspiracao Filmes, Globo Filmes, Quanta Centro de Producoes, Teleimage
Credits:
Director: Andrucha Waddington
Writer: Eleana Soarez
Producers: Leonardo Monteiro de Barros, Pedro Buarque de Hollanda, Pedro Guimaraes, Andrucha Waddington
Director of photography: Ricardo Della Rosa
Production designer: Tule Peake
Music: Joao Barone, Carlo Bartolini
Costume designer, Claudia Kopke
Editor: Sergio Mekler.
Cast:
Aurea/Maria (young): Fernanda Torres
Maria/Aurea (old): Fernanda Montenegro
Vasco de Sa: Ruy Guerra
Massu: Seu Jorge
Massu (old): Luiz Melodia
Luiz: Enrique Diaz
Luiz (old): Stenio Garcia
Chico: Emiliano Queiroz
No MPAA rating
Running time -- 114 minutes...
- 1/30/2006
- The Hollywood Reporter - Movie News
TORONTO -- Sony Pictures Classics snapped up Brazilian drama The House of Sand on Wednesday, and Rogue Pictures, the Focus Features genre label, said it finalized its acquisition of Dave Chappelle's Block Party as the dealmaking continued at the Toronto International Film Festival. SPC bought North American rights to Sand from Brazil's Conspiracao Filmes, paying low six figures for the film, which chronicles three generations of women (played by Fernanda Montenegro) and her daughter (Fernanda Torres) living in a destitute desert town. In a case of art further imitating life, the film is directed by Torres' husband, Andrucha Waddington (Me, You, Them). "It's very much a family affair; Fernanda introduced me to her son-in-law and daughter," said SPC co-president Michael Barker, whose company has released Montenegro and Waddington's most notable films, including Central Station, which featured Montenegro's Oscar-nominated performance.
- 9/15/2005
- The Hollywood Reporter - Movie News
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