Cinema of the World

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4:21 PM

Pablo Trapero - Leonera aka Lion's Den (2008)

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We will never know if the young university student that one day wakes up surrounded by two men covered in blood, one dead, the other wounded, is the perpetrator. Julia is pregnant with the child of one of them. The maternity ward of a women’s prison is the location in which most of the 113 minutes of Leonera's plot takes place. Shot in Buenos Aires’ prisons, with the participation of true inmates and guards, the film "maintains some of the codes of prison films, although developed in the context of the relationship between Julia, the mother and her son", explained Trapero in an interview with BBC Mundo.

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4:03 PM

Jay Duplass - Baghead (2008)

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IMDB

Quote:

Following up on the surprise success of their micro-budget production THE PUFFY CHAIR (2005), brothers Jay and Mark Duplass turn their handheld DV camera toward skewering the pretentiousness of the independent film world while tossing in a few horror film scares for good measure. The result is entertaining and unique, with enough laughs, insight, and excitement for adventurous viewers. After seeing the accolades heaped up on a colleague for his laughable film (WE ARE NAKED) at a Los Angeles film festival, Matt (Ross Partridge) decides that he can do better. With his sometime girlfriend, Catherine (Elise Muller), and friends Michelle (Greta Gerwig, HANNAH TAKES THE STAIRS) and Chad (Steve Zissis) in tow, they immediately set off to a cabin in the woods for the weekend to create the film that will make them all famous on the festival circuit. While Chad focuses his energy on winning the affections of uninterested Michelle, Matt comes up with the cinematic construct of a stranger with a paper bag on his head terrorizing a group of people in the woods. After the initial evening of alcoholic brainstorming, though, the idea becomes reality, and the friends' relationships are tested as they find themselves in a truly scary situation. The idea for BAGHEAD was hatched on the set of the THE PUFFY CHAIR when, during a discussion requesting those involved to think of the scariest thing imaginable, someone said, "A guy with a bag on his head staring into your window." Though it may be a flimsy starting point for a film, the Duplasses surround the idea with a believable cast, truthful insight into relationships, and a few genuine chills. The result is clever, funny, and refreshingly difficult to classify.

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http://rapidshare.com/files/174086540/baghead.limited.dvdrip.xvid-imbt.part1.rar
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http://rapidshare.com/files/174085247/baghead.limited.dvdrip.xvid-imbt.part8.rar

links are interchangeable

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http://rapidshare.com/files/240658976/Baghead.part1.rar
http://rapidshare.com/files/240667244/Baghead.part2.rar
http://rapidshare.com/files/240676466/Baghead.part3.rar
http://rapidshare.com/files/240669684/Baghead.part4.rar
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http://rapidshare.com/files/240677639/Baghead.part7.rar
http://rapidshare.com/files/240670236/Baghead.part8.rar

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3:59 PM

Tomás Barina - Bobule aka Grapes (2008)

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IMDB

Quote:

Film about two friends who find out that you do not have to fly to sea to spend fantastic holidays.

http://rapidshare.com/files/162250721/Grapes.DVDRiP.XViD-RUSTLE.part1.rar
http://rapidshare.com/files/162252347/Grapes.DVDRiP.XViD-RUSTLE.part2.rar
http://rapidshare.com/files/162235562/Grapes.DVDRiP.XViD-RUSTLE.part3.rar
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http://rapidshare.com/files/162247970/Grapes.DVDRiP.XViD-RUSTLE.part7.rar
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http://rapidshare.com/files/160552520/Grapes.2008.DVDRiP.XViD-RUSTLE_subs.rar
http://rapidshare.com/files/160461550/Grapes.2008.DVDRiP.XViD-RUSTLE_urmanon.part1.rar
http://rapidshare.com/files/160523374/Grapes.2008.DVDRiP.XViD-RUSTLE_urmanon.part2.rar
http://rapidshare.com/files/160528394/Grapes.2008.DVDRiP.XViD-RUSTLE_urmanon.part3.rar
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http://rapidshare.com/files/160550859/Grapes.2008.DVDRiP.XViD-RUSTLE_urmanon.part7.rar
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http://rapidshare.com/files/164715611/BobGra.part1.rar
http://rapidshare.com/files/164617663/BobGra.part2.rar
http://rapidshare.com/files/164633027/BobGra.part3.rar
http://rapidshare.com/files/164649325/BobGra.part4.rar
http://rapidshare.com/files/164666121/BobGra.part5.rar
http://rapidshare.com/files/164683771/BobGra.part6.rar
http://rapidshare.com/files/164701772/BobGra.part7.rar
language: eng+Tr

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Reacties:

3:54 PM

Stephen Frears - Dirty Pretty Things (2002)

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"Director Stephen Frears returns to the grittier themes of his earlier films for the urban thriller Dirty Pretty Things. Residing in London, the medically trained Okwe (Chiwetel Ejiofor) is a Nigerian immigrant working as a taxi driver and a hotel concierge, but he still lives on the edge of poverty. He shares a room with Senay (AmÚlie's Audrey Tautou making her English-language debut), a Turkish refugee who works as a maid at the hotel. As illegal immigrants, Okwe and Senay live in fear of being deported. One night, working at the front desk, Okwe receives a call from prostitute Juliette (Sophie Okonedo) to check a broken toilet, where he makes a horrifying discovery. He reports it to the manager Sneaky (Sergi Lopez), who blackmails Okwe into staying quiet about it. Okwe soon discovers the presence of a shady business operation that sends him into the seedy London underworld. Senay becomes lured in with hopes of being able to fund her escape to America. Dirty Pretty Things marks the screenwriting debut of Steve Knight, co-creator of the game show Who Wants to Be a Millionaire.

Reacties:

3:50 PM

Greg Marcks - 11:14 (2003)

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IMDB

In Middletown, at 11:14 PM, two cars accidents happen at the same time, affecting the lives of five different groups of people. A drunken driver hits a man in a lonely road near a bridge; three young men hits a woman with a van, one of the passenger has a severed penis while another man on the road shoots them; a young man robs a convenience store, with the support of the clerk; a man finds a body in a cemetery and gets rid off it; and a young pregnant woman tries to raise money for an abortion. All of these characters and their fates are very connected.

http://rapidshare.com/files/29502540/1eleven1.1fourteen4.part1.rar
http://rapidshare.com/files/29505245/1eleven1.1fourteen4.part2.rar
http://rapidshare.com/files/29507945/1eleven1.1fourteen4.part3.rar
http://rapidshare.com/files/29490781/1eleven1.1fourteen4.part4.rar
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no pw

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3:45 PM

Andrei Konchalovsky - Dom durakov aka House Of Fools (2002)

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IMDB

Synopsis:
The war film that's not a war film. A film about the mental institution which backdrop is the Chechen war. A story about the patients living in an institution during the war on the border of Chechnia and Russia during the war. The patients have to continue living their day to day life after being invaded twice over, and they have to deal with their sicknesses.

Review:

Quote:

Running full steam ahead in his non-Hollywood mode, in "House of Fools" director Andrei Konchalovsky describes the war between Russia and Chechnya as a conflict between madmen, compared to whom the residents of a mental institution are sane human beings. This whimsical fairy tale about a young woman patient who falls in love with a Chechen soldier, "abandoning" her imaginary fiance Bryan Adams (who amusingly appears several times in the film), has the comically grotesque appeal of a Fellini film and could reach out to auds in specialized release. It lacks the originality and invention to go much beyond that, however. Pic works best when Konchalovsky confronts the feminine universe of music, clowning and emotions with his muscular "Runaway Train" side, and in those scenes some serious sparks fly. Basic business should be in the range of his 1994 "Ryaba My Chicken," his last film before turning to television and opera directing.

An old building on the Chechen border houses a motley crew of psychiatric inmates, humorously viewed without fear of political incorrectness by a handheld camera as they dance, shout and cavort. The institute's doctor (Vladas Bagdonas), a man of modern views, dances along with them. Pretty Janna (Julia Vysotsky), who plays polkas on her accordion, believes she's the girlfriend of pop star Adams; introverted Ali (Stanislav Varkki) carries a backpack bulging with poems; Vika (Marina Politseimako) is a loud-mouthed hysteric who stirs up trouble. The main characters are pretty obviously played by actors, while real patients make up the supporting cast.

After this conventional buildup, pic gets into gear when bombs begin falling on the institute. The nurses flee and the doctor takes off to find buses to evacuate his patients, leaving the residents to run wild. Captained by fiery Vika, they make a bid for freedom, but the arrival of a contingent of Chechen irregulars quickly turns them back. Unlike the bloodthirsty Chechens depicted in the recent Russian hit "The War," these soldiers are polite and sing beautiful folk songs, accompanied on Janna's accordion. Flirtatious Ahmed (Sultan Islamov) casually promises to marry the girl. Janna takes him at his word and, saying goodbye to her Bryan Adams poster and the rest of her friends, goes to join his detachment.

The sunny Vysotsky, half clown and half woman, stands at the moral heart of the story with her innocent but fully felt love. The clash between her intense feelings for Ahmed and the ugly war machine, visualized by a falling, exploding helicopter that she doesn't even notice, is the most powerful part of the picture. As her new Prince Charming, Islamov strikes a balance between soldierly duty and an innate love of life. Popping up throughout the film, the incongruous appearances of Bryan Adams crooning "Have You Ever Really Loved a Woman" always get a laugh.

Camerawork leaves a lot to be desired, staggering between overly desaturated blue images and cheap-looking video cutaways. Edward Artemiev's music has a jolly circus feel.

Screenshots:

http://rapidshare.com/files/7478271/Dom.drakov._aka.House.of.Fools_.2002.DVDRip.Xvid.DUAL.TR-RUS.GRT.part16.rar
http://rapidshare.com/files/7477516/Dom.drakov._aka.House.of.Fools_.2002.DVDRip.Xvid.DUAL.TR-RUS.GRT.part15.rar
http://rapidshare.com/files/7474495/Dom.drakov._aka.House.of.Fools_.2002.DVDRip.Xvid.DUAL.TR-RUS.GRT.part14.rar
http://rapidshare.com/files/7471649/Dom.drakov._aka.House.of.Fools_.2002.DVDRip.Xvid.DUAL.TR-RUS.GRT.part13.rar
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http://rapidshare.com/files/7458638/Dom.drakov._aka.House.of.Fools_.2002.DVDRip.Xvid.DUAL.TR-RUS.GRT.part08.rar
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http://rapidshare.com/files/7442811/Dom.drakov._aka.House.of.Fools_.2002.DVDRip.Xvid.DUAL.TR-RUS.GRT.part01.rar

pw: grt

http://rapidshare.com/files/7478271/Dom.drakov._aka.House.of.Fools_.2002.DVDRip.Xvid.DUAL.TR-RUS.GRT.part16.rar
http://rapidshare.com/files/7477516/Dom.drakov._aka.House.of.Fools_.2002.DVDRip.Xvid.DUAL.TR-RUS.GRT.part15.rar
http://rapidshare.com/files/7474495/Dom.drakov._aka.House.of.Fools_.2002.DVDRip.Xvid.DUAL.TR-RUS.GRT.part14.rar
http://rapidshare.com/files/7471649/Dom.drakov._aka.House.of.Fools_.2002.DVDRip.Xvid.DUAL.TR-RUS.GRT.part13.rar
http://rapidshare.com/files/7468694/Dom.drakov._aka.House.of.Fools_.2002.DVDRip.Xvid.DUAL.TR-RUS.GRT.part12.rar
http://rapidshare.com/files/7465997/Dom.drakov._aka.House.of.Fools_.2002.DVDRip.Xvid.DUAL.TR-RUS.GRT.part11.rar
http://rapidshare.com/files/7463565/Dom.drakov._aka.House.of.Fools_.2002.DVDRip.Xvid.DUAL.TR-RUS.GRT.part10.rar
http://rapidshare.com/files/7461121/Dom.drakov._aka.House.of.Fools_.2002.DVDRip.Xvid.DUAL.TR-RUS.GRT.part09.rar
http://rapidshare.com/files/7458638/Dom.drakov._aka.House.of.Fools_.2002.DVDRip.Xvid.DUAL.TR-RUS.GRT.part08.rar
http://rapidshare.com/files/7456069/Dom.drakov._aka.House.of.Fools_.2002.DVDRip.Xvid.DUAL.TR-RUS.GRT.part07.rar
http://rapidshare.com/files/7453595/Dom.drakov._aka.House.of.Fools_.2002.DVDRip.Xvid.DUAL.TR-RUS.GRT.part06.rar
http://rapidshare.com/files/7451248/Dom.drakov._aka.House.of.Fools_.2002.DVDRip.Xvid.DUAL.TR-RUS.GRT.part05.rar
http://rapidshare.com/files/7449181/Dom.drakov._aka.House.of.Fools_.2002.DVDRip.Xvid.DUAL.TR-RUS.GRT.part04.rar
http://rapidshare.com/files/7447050/Dom.drakov._aka.House.of.Fools_.2002.DVDRip.Xvid.DUAL.TR-RUS.GRT.part03.rar
http://rapidshare.com/files/7444864/Dom.drakov._aka.House.of.Fools_.2002.DVDRip.Xvid.DUAL.TR-RUS.GRT.part02.rar
http://rapidshare.com/files/7442811/Dom.drakov._aka.House.of.Fools_.2002.DVDRip.Xvid.DUAL.TR-RUS.GRT.part01.rar

pw: grt

Reacties:

3:41 PM

Sam Peckinpah - Cross of Iron (1977)

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A quote from Bertolt Brecht ends this bitter and angry war film by Sam Peckinpah: "Do not rejoice in his defeat, you men. For though the world has stood up and stopped the bastard, the bitch that bore him is in heat again." Peckinpah's intense and belligerently non-commercial work, (based on the book by Willi Heinrich), is a World War II tale told from the German perspective, following a platoon of German soldiers in the Russia of 1943, when the German Wehrmacht forces had been decimated and the Germans were retreating along the Russian front. James Coburn is Steiner, a German corporal and recipient of the Iron Cross who feels that he owes his loyalty to his family and fellow soldiers and not to Hitler and the German war machine. But when a new commander, Captain Stransky (Maximillian Schell), takes over the platoon, Steiner and Stransky come into immediate conflict. Stransky is a career soldier, the complete opposite of Steiner, who pledges himself heart and soul to Hitler and the war. But he envies Steiner for having been awarded an Iron Cross and deeply desires one himself. The problem is Stransky is a complete coward and recognizes that the only way he can be awarded an Iron Cross would be to get the bitter Steiner on his side. ~ Paul Brenner, All Movie Guide

Reacties:

3:35 PM

Erick Zonca - Julia (2008)

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IMDB

Plot
Tilda Swinton stars in director Erick Zonca's drama about a forty year old alcoholic who, in a rare moment of sobriety, sees where her life is headed and makes one last ditch attempt to steer herself away from the disastrous path that she has been locked on for as far back as she can remember. Julia may be manipulative, notoriously untrustworthy, and completely incapable of uttering any word that isn't an outright lie, but somehow - perhaps due to sheer charisma - this statuesque deceiver has always managed to get by. But Julia has been hardened by too many vodkas and too many one-night stands, and lately the lonely life of drifting from job to job in her 1979 Chrysler New Yorker has left her wanting something more. While her old boyfriend Mitch occasionally tries to break through Julia's haze, lately she has surrendered herself to the fact that she is simply one of life's losers. As her finances begin to run short and panic begins to set in, a desperate Julia turns to crime but is forced to go on the run with a young boy named Tom after her plan falls hopelessly apart. Allmovie.com

Quote:

Stuart Jeffries, The Guardian on November 28, 2008
Julia is a bizarre film project that might well make conventional producers queasy. It is an existential kidnap caper movie set in LA, New Mexico and Tijuana, and stars an arty British thesp playing what one critic called "a swaggering floozy with a monumental drink problem". It was made with an alienated American crew ("They really were a pain in the ass," says Zonca. "They had no idea what they were filming") and a director rewriting the script with his co-scenarist on set. Zonca couldn't raise American money for the project, which was ultimately bankrolled by France's Studio Canal. But Studio Canal cut the budget by a third one month before the shoot. According to Swinton, she lost weight owing to the pressures of filming in straitened circumstances.
Some critics have compared the resulting film to John Cassavetes' Gloria, seeing Swinton as a latter-day Gena Rowlands. "I'm very happy with the Cassavetes comparison," Zomca says. "I was watching Opening Night and Killing of a Chinese Bookie while I was working on the film. Not because I wanted to copy them, but because the way he shoots things without close ups and in long takes is something I aspire to do." Others, however, were less kind. The trade-magazine critics trashed the picture when it was shown at the Berlin film festival, saying there is no place in the world - at least not in American cinemas - for a 144-minute picture edited down from its original four-hour running time with such a thoroughly unlikable central character. Variety's critic suggested Julia was a "startling misfire" that "uncomfortably welds arthouse sensibilities with genre tropes". Stateside chances are negligible for this English-language flick, he predicted. […]
Zonca's film, however, slips into many other things: arthouse longueurs, calculated overacting and borderline hysteria, not to mention some scenes that will have purer souls than mine rolling their eyes in moral outrage. For example, there's a scene in which Julia wakes up in a motel cuddling the boy she has kidnapped. It would be a tricky enough scene for any director to tackle and for any actor to perform, but as Zonca shot the scene, he realised that the boy had woken up and was staring at Swinton's breast, which had somehow become exposed. "I was like this," says Zonca, framing his face with two hands to suggest he's behind a camera, behind which are a pair of goggle eyes. "I didn't know whether this was fortuitous or terrible that her breast popped. But Tilda thought it was great. So we went with it." "And, don't forget," says Py, "the boy's mother, who was on the set at the time - she was OK with it."

Quote:

Word on the street after the Berlinale was that French director Erick Zonca's English language debut, Julia, was either an homage to the films of John Cassavetes (to those who liked it) or a pitiful tinkering with Cassavetes's style (to those who hated it, and sometimes quite viscerally). Maybe it's just because I was looking for it too hard, but I frankly didn't see it, unless having a female protagonist is all it takes to compare a film to Cassavetes, in which case we're in worse shape than I thought.
So, leaving out the Cassavetes connection, here's how I found Julia: a film with a magnificent opening 45 minutes or so, that turns into an agreeable but derivative botched-kidnapping for another 45 minutes, before finally turning into a sloggy trip to Mexico that serves very little obvious purpose other than spackling some extra running time onto a film that ends up feeling overlong at some two and a quarter hours. At all points, the plot is significantly less interesting than Julia Harris, the woman at its center, and this is primarily because of Tilda Swinton, one of the best actresses currently working in the cinema.
Even the briefest scan of Swinton's two-decade career makes it quite obvious that she's not the kind of performer who has a "type", but even given that observation, Julia doesn't feel like a Swinton character. Loud-mouthed, alcoholic, a trashy dresser, given to waking up in men's beds with no particular recollection of how she got there, Julia could easily have turned into an ugly caricature, and Swinton doesn't always avoid that trap, particularly in the earliest scenes showcasing Julia's booziest excesses. But even though she is playing a woman who basically lacks dignity, the actress never seems to betray knowledge of that fact. Julia herself doesn't realise that she lacks dignity, and Swinton does a more than credible job fleshing out the character's ill-placed self-assurance without asking for laughs or pity. It's just who Julia is, and it's commendable that Swinton is comfortable letting that be the end of it. It's also worth at least mentioning that the actress is willing to let herself be so deglamorized as she is in this role, full of sweat and dirt and flab and awful makeup, but Swinton hasn't ever been an actress to shy away from physically ugly roles, so it feels more like business as usual than bravery.
Take out that wonderful central performance and what's left is a film of little distinction. The plot is unabashed color-by-numbers: Julia, faced with a life crumbling down around her, has the misfortune to believe her fellow AA member, Elena (Kate del Castillo), an obviously unstable woman who gets very excited when talking about her impending plot to kidnap her son, adopted by his wealthy paternal grandfather and kept from his mother, and now Elena wants Julia to help her with this scheme (the manner in which Elena is unambiguously presented as crazy is so over the top that I genuinely believed that she was making up the entire relationship, based on some newspaper clippings, and the only moment in the film that really surprised me is when it turns out that she is, indeed, the birth mother). At first seduced by Elena's promise of$20,000, Julia comes up with a better idea - why not kidnap Tom (Aidan Gould) herself, and hold him for ransom? Of course, movie kidnappings aren't ever that simple, for else they would not provide movie plots, and Julia's terrible mishandling of everything from the phone calls to the grandfather to the easily-penetrated safehouse eventually sends her scurrying to Mexico with the boy.
So far, so good, if hardly exceptional; but in the film's last third in Mexico, things go entirely off the rails. Julia's continued idiocy ends with Tom getting kidnapped again, and the kidnappers, assuming that she's the boy's mother, present her with a ransom of their own. Thus begins some 20 minutes of Julia's attempts to choreograph her own receipt of the $2 million she asked for with providing the kidnappers with their $1 million (up from $100,000 after Julia failed to keep her mouth shut), all while keeping everybody in the dark about what's happening. Things end surprisingly cleanly, but for a while there the film is positively unbearable - this might have possibly worked as farce, but it's presented completely straight, and it makes a long film significantly longer.
The good news it that Zonca (whose work I've not previously seen) elects to use a simple, almost Spartan visual style for Julia, which is mostly comprised of wide establishing shots or close-ups, particulaly close-ups of Tilda Swinton, and those are always good things. Which is to say, he avoids the gonzo post-Tarantino stylegasms that would probably have infected every frame of the film if it were an American production. He even keeps the film's few patches of violence tastefully offscreen. Of course, this is all because the kidnapping isn't the point of the film: it's not a crime thriller but a character study, of what happens to Julia as a result of her actions. It could have come a lot closer to working on that level if it weren't so contemptibly long, but Swinton has a good face for the "bug in a jar" school of filmmaking that Zonca seems to favor, and it's largely her presence that saves Julia from itself. from “Antagony & Ecstasy” Blog

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3:30 PM

Cao Hamburger - O Ano em que Meus Pais Saíram de Férias AKA The Year My Parents Went on Vacation (2006)

Gönderen anybody

IMDB

Presentation
The Year my Parents Went on Vacation is the story about Mauro (Michel Joelsas), a young middle-class boy from Minas Gerais as well as ardent soccer fan who loves to play button-soccer, born to a Jewish father and a Catholic mother who one day sees his whole world turned upside-down. His parents leave on vacation without giving him any feasible explanation and without taking him along. Instead, he is handed over to his grandfather, who lives in the Bom Retiro district of São Paulo. But, by some coincidence of fate, Mauro finds himself alone in a completely new world.

According to the director, The Year My Parents Went on Vacation deals with a new reality as experienced by a preadolescent boy who is suddenly forced to use his own wits to surmount the obstacles life places in his path and, more than this, to get used to living in a Jewish community, in a setting such as Brazil, in which soccer is a strong cultural component. “It is a film about exile. On the various modes of exile, on how Mauro learns that life is transitory and how he learns to get along with others and survive in this world of ours”, as put by the director, who had the initial idea years ago when living in London and working with Ragdoll Productions which produces infantile programs, such as Teletubbies. “Besides this, despite the movie not being about soccer, and one in which the sport is used as a backdrop, I wanted to talk about the myth which the all star team from the 1970 World Cup has turned into. To give you an idea, every English cab driver older than 50 remembers the Brazilian all star line-up by heart for the World Cup of that year. I also wanted to help and do away with some common prejudices, stereotypes and false ideas that foreigners in general have about Brazil. All this came together and inspired me to try tell a story in which I could touch on these subjects”, explains the director, who has broad experience in working with young actors and has been producing highly acclaimed films, both for their technical and artistic quality as for their content.

After various treatments, the screenplay started to be filmed in 2005, when Hamburger and his crew spent eight weeks shooting the first “adult movie” of the director, who is known in Brazil and abroad for his projects such as Castelo Rá-Tim-Bum, for TV Cultura and cinema, and the series Filhos do Carnaval, produced by HBO.

For the director, The Year My Parents Went on Vacation is a movie about different generations and team work. “The film tells a lot about the times in which I, Cláudio (Galperin, screenwriter), Bráulio (Mantovani, screenwriter) Anna (Muylaert, screenwriter), Cássio (Amarante, art director), Adriano Goldman (director of photography) and various others lived as children. Not differently than Mauro, we also had a fragmented perspective of reality. This film tells our story in a certain way. And without my crew, the best I could ever hope for, nothing of this would have been possible, in both the artistic and technical quality, as well as the content which was so efficiently portrayed”, says Hamburger who, like the boy who narrates his story, also saw his parents being arrested during the military dictatorship, has a Jewish father and a Catholic mother, and was a goalie for many years when younger.

Produced by Gullane Filmes, Caos Produções and Miravista and co-produced by Globo Filmes, the feature film’s budget stands at USD 3 million (three million dollars) and was distributed in Brazil by Buena Vista International. Buena Vista has also the rights for Latin America.

Plot Synopsis
In 1970 Brazil and the world seemed to have been turned upside-down, but the biggest worry in young 12 year-old Mauro’s mind had little or nothing to do with the proliferation of military dictatorships in South America or with the war in Vietnam. His biggest dream was to see Brazil become three-time winner of the World Cup.

Mauro is at a stage in life when one moves from infancy into adolescence. It is at this point in life in which he is forced to live without his parents, when they, as left-wing militants, are forced underground and leave him with his grandfather. But something unexpected has happened to his grandfather. The young boy is left alone without being able to inform his parents. It is Shlomo who winds up taking care of him, his grandfather’s next door neighbor, an old solitary Jewish man and employee of the local synagogue. This unexpected cohabitation results, for both of them, in a plunge into unknown worlds from which they emerge, each in their own manner, more mature than before.

While he waits for a call from his parents, Mauro learns to face a very often harsh and painful reality, but which has its moments of happiness and discovery. He finds himself alone and repeats, after a manner, the saga of his grandparents – Jewish immigrants – surviving in a new world. From this point on Mauro is introduced to not only Shlomo, the superintendent of the synagogue with whom he is forced to live, but to irreverent Hanna, a little bit his senior, with her enormous talent for making bets and business deals; young Irene, who sparks the imagination of all the kids from the block; the Rabbi, a fanatic Corinthian (soccer team) fan; Ítalo, the son of an Italian involved in student demonstrations; Edgar, the mulatto goalie of the local soccer team, among others. With his new friends, Mauro shares, among many other things, his passion for soccer, his first sexual discoveries and his desire to regain the happiness suffocated by the dictatorship.

In a delicate and very often amusing manner Mauro’s adventure is fused into his ancestor’s saga, creating a poetic mirror which reflects situations of prosecution, exile and adaptation. In this portrait of Mauro’s trajectory and his family history – his parent’s and his grandfather’s -, the screenplay mixes in an original manner diverse themes which make up the backdrop of the film. In this context, on one hand, there is a large presence of foreign immigrants in São Paulo, which gives it its ethnic and cultural variety, represented by a rich and nostalgic setting of the Bom Retiro district in the 70’s where immigrants with different ethnic, religious and political backgrounds, such as Italians, Greeks, blacks and mainly Jews lived. On the other hand, the film salvages the best scenes of the most important plays in the 1970 World Cup, accompanied by all the emotion that the best all star team of all times provided Brazilians with when they won the World Cup for the third time. And, to complete this complex scenario, there is still the oppression and violence of one of the most intense moments in the military regime.

Emotion, humor and sensitivity in the trajectory of a young boy who undergoes his rite of passage surrounded by the magic of soccer, discovering the value of friendship, solidarity, sex and the biggest lesson of all: You can’t control each and every move in life like a solitary game of button soccer.

Review from Variety
Sensitive, delicate and involving, "The Year My Parents Went on Vacation" is a silky-smooth dramedy about a boy thrust into the alien environment of a Jewish community when his politicized parents are forced to flee the country. The opposite of jagged, cutting-edge Brazilian cinema, this second feature by Cao Hamburger revolves around the 1970 soccer championship and a Jewish setting that recalls Daniel Burman's "Lost Embrace," the Argentine sleeper that took home a Berlin Silver Bear in 2004. Box office-friendly, intelligent pic is a gentle, balanced crowd-pleaser that could potentially do very well with urban auds.

Hamburger's first film, "Castelo Ra-Tim-Bum, the Movie" was a spinoff of his TV children's programs. Here he makes a quiet shift toward the adult theme of an innocent caught up in a ferociously repressive dictatorship without being aware of what's happening.

For Mauro (Michel Joelsas), 1970 is the year Brazil wins the World Cup and, incidentally, the year his young parents (Simone Spaladore and Eduardo Moreira) tensely drop him off at grandpa's house on the outskirts of Sao Paulo. Unbeknownst to the fleeing pair, the elderly man (Paulo Autran) has just had a heart attack hours before Mauro knocks on his door, setting in motion the film's first act of "Home Alone"-type misunderstandings.

Whisked to the funeral by Yiddish-speaking strangers, Mauro is reluctantly taken under the wing of his grandfather's next-door neighbor, Shlomo (Germano Haiut). Though nonplussed to find Mauro isn't circumcised (his mother is a Gentile), the community amiably adopts the boy while Shlomo courageously tries to find out why his parents are not calling.

The humorous central part of the screenplay is bereft of surprises, as Mauro is befriended by tomboyish, street-smart Hanna (a finely cast Daniela Piepszyk), who sells the local kids peeks at ladies trying on clothes in her mother's dressing room. Mauro develops a crush on pretty Irene (Liliana Castro), who waits tables in the local bar where everyone gathers to watch Pele and Tostao fight their way to victory during the World Cup championship.

In the tragic but understated ending, the theme of memory as something slightly unreal comes to the fore. Spare offscreen narration by an older Mauro looks back on this momentous period of his life, where real emotions turn hazy in comparison to the indelible black-and-white images of the World Cup and the streets littered with confetti. Family tragedies overlap with the collective frenzy of sports matches, while the horrors of the dictatorship pass practically unnoticed.

Hamburger feels no need (nor is there any) to underline the obvious. He has a magician's ability to keep the story light and believable, aided by a top-flight cast. In the central role, wide-eyed Joelsas adapts to his new habitat first blithely, then with growing longing for his missing parents. Playing Lucy to his Charlie Brown, Piepszyk lights up every scene she's in.

On the adult side, Haiut is the soul of dignity and resignation as the emotionally blocked but upright Shlomo who struggles to help the little stranger whom, the rabbi tells him, has been left on his doorstep by God.

Film's pleasing look comes courtesy of cinematographer Adriano Goldman's tenuous lighting and art director Cassio Amarante's nostalgic re-creation of 1970 on the outskirts of Sao Paulo. Daniel Rezende opts for strong elliptical editing that keeps audience involvement high, while Beto Villares' soft, understated score never disturbs.

Review from The Hollywood Reporter
Further proof of the wonderful renaissance of the Brazilian cinema.
The surfaces of Cao Hamburger's fine film, "The Year My Parents Went on Vacation" (O Ano em Que Meus Pais Sairam de Ferias) are clean and concise and filled with keen observations about day-to-day life in a multiethnic quarter of Sao Paulo in 1970. This allows the director all sorts of opportunities to explore the rich subtext of his film -- themes about alienation, community and a life in exile.

This Brazilian film has the power to reach out to audiences all over the world. So after its Competition debut in Berlin, "Year" is a solid bet to win further festival dates and wide distribution in international territories.

The story, written by the director and Claudio Galperin, Braulio Mantovani and Anna Muylaert, tells of an adolescent boy who finds himself cut loose by fate in a strange community where he has to make friends and fend for himself. Twelve-year-old Mauro (Michel Joelsas) has grown up in a small town, consumed by a love for soccer. The entire country is electrified as its team is marching toward a potential third World Cup in Mexico. Citizens can almost forget they are in the sixth year of a brutal military dictatorship.

Abruptly, Mauro's mother, who is Catholic, and father, who is Jewish, must "go on vacation." It's clear to the viewer but not to Mauro that dangerous politics is forcing them underground. They drive the boy to Sao Paulo and leave him at his grandfather's apartment building. Unfortunately, the grandfather has dropped dead only minutes before Mauro's arrival.
Shlomo (Germano Haiut), an elderly next-door neighbor who works at the nearby synagogue, takes him in. But the boy resists Shlomo's reluctant overtures and wants to get into his grandfather's apartment. A precocious neighbor his age, Hanna (Daniela Piepszyk), tells him to get the superintendent to let him in. He then sits by the telephone, waiting for his parents to call and take him home.

Weeks go by and Shlomo doesn't know what to do with this boy who, despite a Jewish grandfather, he considers a "goy." Gradually, Mauro builds a sense of community in the Bom Retiro district, which in those days was home mostly to immigrants of Jewish, Greek, Italian and black origin. But Mauro sees himself as a goalie, a solitary figure that, while a team member, stands apart. He already understands himself as somehow different, as a person in exile just like his parents.

With Hanna he experiences a rite of passage that exposes him to affection, friendship and a peep hole in her mother's dress store where she charges neighborhood boys to watch women undress. Shlomo brings him in touch with his Jewish heritage, not that it has much impact. The beauty of Irene (Liliana Castro) sparks the fantasy lives of many adolescent boys. And through the student Italo (Caio Blat), Mauro sees the cracked skull one can receive for holding the wrong political beliefs.

Serious movies about children often are burdened with symbolism and coyness. But Hamburger has superbly crafted a film of considerable subtlety and shrewdness. As Mauro makes his way through the world of his parents and late grandfather, he comes into contact with people and ideas that expand his horizons and challenge his thinking.

Hamburger's depiction of a time and community under the stress of political upheaval is full and engaging but steers clear of nostalgia. Cassio Amarante's beautifully detailed production design benefits from somber, natural lighting by cinematographer Adriano Goldman. Beto Villares' music is just so. It never intrudes but brings in its Brazilian melodies at just the right spots.

Review from GreenCine Daily[
Cao Hamburger's O ano em que meus pais sairam de férias (The Year My Parents Went On Vacation) incidentally set a tone, a theme for the three screenings I caught this Friday: children abandoned or in some way neglected by bad or incompetent parents or parents simply otherwise engaged. Vacation falls into the latter category.

Brazil, 1970. The military dictatorship (1964 to 1985) makes no distinctions in its view of the violently suppressed opposition: socialists, social democrats, what have you, they're all (as the subtitles translate the term) "commies." It takes us a while to learn enough to be sure, but Mauro's parents are in some never-defined way wrapped up in subversive activities. Their situation, whatever it is, has become so dangerous that they can no longer stay at home. They've decided they will have to go "on vacation." And this is all they will tell Mauro (Michel Joelsas), their 12-year-old son. If anyone asks, they're on vacation; though they try to keep the truth from him, we can sense that it would be too risky for all three of them if he knew anything more.

1970 was a big year for Brazil for another reason, too. It was the year Brazil won the World Cup. If you remember last summer's World Cup, you might also remember that Brazilians are among the most enthusiastic of fans; in 1970, the competition probably meant even more to them as it held out a reason to celebrate their country and take their minds off all the torture, assassination and forced exile going on - never talked about out in the open, but always in the air. As Hamburger quipped at the press conference today, in many ways, then and now, "Soccer is the opiate of the people."

As Mauro's parents drive him to his grandfather's apartment in São Paulo, they phone him just before they arrive. "Does it have to be today?" the grandfather asks. It does. What Mauro and his parents don't know is why he's asked. He's not feeling too well. They also don't know that between that phone call and their arrival, the grandfather collapses in his barbershop. Dead.

Mauro's parents' big mistake: they leave him at the front door of the apartment building, not the apartment door itself. They don't know the grandfather's gone, much less for good. The grandfather's neighbor, Sholomo (Germano Haiut) discovers Mauro waiting at that door - he's been there for hours - and here, the comedic flavoring, a bit on the cutesy side, begins. We're in the Bom Retiro district of the city, populated by Jews, Italians, Greeks, Arabs, all the various immigrant communities. Like Mauro's grandfather, Sholomo, if you haven't guessed, is Jewish, and the first words he speaks to Mauro are an admonishment for playing in the hall. Spoken in Yiddish.

When Sholomo learns who Mauro's waiting for, the old man realizes he'll have to take the boy in. For the time being. Well, you can see where this is going. Mauro knows nothing of his Jewish heritage; Sholomo and the community about to absorb Mauro are considerably more orthodox than the South American Jewish communities we've seen in, say, the work of Daniel Burman. But of course, as the cultures clash and the gentle laughs roll, and all the while, the neighborhood rouses itself for the World Cup, we know we're heading toward seeing it all work out.

The chuckles, of course, are interspersed with moments of anger and sadness, but never anything too extreme or even, when it comes down to it, too consequential. This is a pleasant film, certainly fit for viewers of Mauro's age, even with its bittersweet ending. But you'll get no spoilers from me other than one: Brazil: 4, Italy: 1.

Interview With The Director
Despite not being autobiographical, The Year my Parents Went on Vacation contains a lot of elements from your early years, your memories, doesn’t it?

The film isn’t autobiographical, but the screenplay does contain a few of my memories, as well as that of Cláudio (Galperin, with whom the director wrote the screenplay and the development of its first treatments) as well as other people from our team. Pieces of our memories are there. We all worked in tune with our memories. Beginning with the screenplay through to the art, photography direction, etc.

Would you agree that this is a film which doesn’t fit in easily with the definitions used for the genre?

Yes, it isn’t a genre film. But neither is it a difficult film, it is involving, but ethereal in a certain way. I think that this is one of its interesting factors. If I were to define it, I’d say it was a movie about absence, about solitude and how to make the most of it. A film about overcoming obstacles.

In a way, is it also a film about exile, about vulnerability?

Without getting into much detail. It is a story about a boy exiled in his own country. A boy who, after learning to get along in a new environment, is exiled once again. This facet of the movie deals in a way with the cycles which exist in our lives, the way he learns that life is made up of cycles, that nothing is forever. Mauro says to himself: I came here alone and I managed to survive. It is a rite of passage, a time of discovery. He learns that life isn’t controllable, that it isn’t like a solitary game of button soccer, where you can repeat the plays, control the results...

And the choice of a Jewish community to serve as the backdrop for Mauro’s drama?

For me, the movie deals with the possibilities of different ethnic groups living together as well. Something which is exemplified in the scene of the soccer game between Italians, Jews and blacks. It isn’t the main element of the movie, but it is one of its strong points. Along with another strong point in the film which is the fact that Mauro is taken in by the Jewish community, by religious people and is not indoctrinated, not forced to “become Jewish”. Mauro’s relation to the things around him, his grandfather’s apartment is another interesting point. Just like our ancestors’ stories are part of our stories, his grandfather’s apartment, the different culture is now his, becoming a part of Mauro’s life.

Why did you choose the goalie figure?

The film isn’t about soccer, but the analogy with the solitary goalie is nice. I used to be a goalie and I felt it myself. The goalie is the odd guy on the team, the only one who catches the ball in his hands, who doesn’t attack, doesn’t make goals, defends, who sometimes becomes a hero, but a player who can’t fail, because if he does, he becomes one of the bad guys. It isn’t easy being a goalie. There’s this saying in Brazil which says: The goalie’s life is so hard that not even the grass grows where he plays.

You have a lot of experience directing kids. How was it directing Michel Joelsas (Mauro) and Daniela Piepszyk (Hanna)?

Michel and Daniela are incredible. Patrícia Faria, our casting director came back in a daze after her first visit to their schools. She couldn’t believe how smart, well-behaved, interested they both were.
Michel has incredible timing. He works in a frequency which helped him get through the whole movie. He is in 99% of the scenes, but doesn’t weary the spectators because he is always in a very cool, easy-going, cinematographic frequency, with his emotion in his eyes. Daniela is very charismatic and talented. They are both born actors.

Which cinematographic references inspired you the most in making The Year my Parents Went on Vacation?

I have pretty broad cinematographic influences. I like almost all good movies, which serve as food for thought, coming from different styles and genres. I think you could say it is a characteristic of my generation. I’m a big fan of Kubrick, Sergio Leone, Fellini, Spielberg, Chaplin, Kusturica, Japanese films, contemporary Argentine, Wim Wenders, Fernando Meirelles... I’m a big audiovisual mixing pot. But, with so many references, I try to find my own style, decanting and researching that which is most personal in different styles and narratives.

In this film I was after a more intimate frequency in everything. I tried to conduct the orchestra to play a pianissimo. In all the different segments of the film. In the acting, art direction, in the camera’s language itself, editing, etc. We tried not to stray from the frequency of the story we were telling, the cadence of the emotions that the characters were living. We didn’t want anything in the film to jump out on spectators, to stand out from the rest, to stand out in the story. I think the whole crew understood this and dove headfirst into this universe we were creating.

Did the choice of the camera’s position contribute to this “fantasy” environment?

Yes. It’s in the camera, which isn’t cold and impersonal; it emanates heat to the spectators. There is a certain subjective air which provides the film with a testimonial tone, it’s not a flat camera. This began in Filhos do Carnaval, in which I also worked with Adriano Goldman (director of photography and camera).

And how did you pick the people to work with you in The Year...?

Well, they say that 90% of the director’s work is choosing his team and cast. I agree with this. I handpicked my crew. I had already worked with most of them before, and those who were with us for the first time caught on really quick. Making films is crew work, and I really like the whole process. And the team has to be as involved as I myself am in the project, as it is together with them that I discover just what the film that we’re going to make is like. And, in an analogy with soccer, I had a first class team and we all played to the same tune.

How do you feel about being in the Berlinale Festival?

First of all, I’m very honored and proud to be in the Berlinale, one of the most important Film Festivals in the world. And for many reasons, I am very happy with the opportunity of starting the international career of "THE YEAR..." in the city of Berlin.

With my ancestors coming from Berlin, to me, it is like closing a cycle of an immersion into my father and grandfather’s culture. My father comes from a Jewish Berliner family but my mother is from a Catholic Italian family. Like Mauro, the main character in the film, my life has always revolved around dealing with differences, one of the film’s subjects and very appropriate nowadays.

I don’t think there could be a better place than Berlin for touching on this theme, a city known for its cosmopolitan and tolerant society in the 19th Century, and one which suffered through the horrors of both World Wars, and then, true to its vocation, broke down the wall and became once again one of the most important cities in the world in terms of culture and knowledge.

This is another point of contact between the city and the film, the cold war which split the city in two and led to Mauro’s condition as an exile. It is interesting how this little boy’s life was totally affected by the world situation - in a peripheral country, in a small community, so far way from the big decisions.

Awards
* Berlin International Film Festival - Nominated - Golden Berlin Bear
* Rio de Janeiro International Film Festival - Won - Audience Award

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3:26 PM

Rebecca Miller - The Ballad of Jack and Rose (2005)

Gönderen anybody

Jack Slavin (Daniel Day-Lewis), a Scottish farmer with a heart ailment, lives on an island which had been a hippie commune decades before. He is struggling to keep landowners from building developments on the wetland. His teenaged daughter Rose (Camilla Belle) is a beautiful but isolated girl with a passion for gardening. Since Rose's mother had left the family, Jack homeschooled his daughter and did not expose her to life beyond their small island home. While Rose has no desire to change their lifestyle, Jack believes that they both "need a woman around." He travels to the mainland to ask his girlfriend Kathleen (Catherine Keener) to move in with him. Jack breaks the news to a shocked Rose, from whom he had kept his relationship a secret. Rose remains stoic and disdainful when Kathleen and her two teenaged sons move in.