Gaijin: Roads to Freedom
Gaijin: Roads to Freedom is a 1980 Brazilian drama film, the debut film of director Tizuka Yamasaki. The film is based on real events in the history of Japanese immigrants who came to Brazil in search of better opportunities, its sequel, Gaijin 2: Love Me As I Am, was released on September 2, 2005. Japan, 1908. Motivated by poverty in the country and few job prospects, many Japanese have emigrated in search of opportunities; as the emigration company only accepted family groups who had at least a couple and Kobayashi who were brothers, see as solution that Yamada would marry Titoe, only 16 years old. Yamada and Titoe had just met and, along with a cousin, they depart to Brazil. After 52 days of travel they arrive in Brazil where they will work in Santa Rosa farm, in São Paulo, where the coffee expansion was intense, but they stumble upon a foreman. In addition they are stolen by the owners of the farm, only being treated with respect by other settlers and by Tonho, the counter of the farm. Kyoko Tsukamoto as Titoe Antônio Fagundes as Tonho Jiro Kawarazaki as Yamada Keniti Kaneko as Kobayashi Gianfrancesco Guarnieri as Enrico Álvaro Freire as Chico Santos Louise Cardoso as Angelina José Dumont as Ceará Yuriko Oguri as Mrs. Nakano Clarisse Abujamra as Felícia Carlos Augusto Strazzer as Dr. Heitor Dorothy Leirner as Grazziela Maiku Kozonoi as Keniti Nakano Gaijin: Roads to Freedom on IMDb
Hydrangea is a genus of 70–75 species of flowering plants native to southern and eastern Asia and the Americas. By far the greatest species diversity is in eastern Asia, notably China and Korea. Most are shrubs 1 to 3 meters tall, but some are small trees, others lianas reaching up to 30 m by climbing up trees, they can be either deciduous or evergreen, though the cultivated temperate species are all deciduous. Having been introduced to the Azores, H. macrophylla is now common on Faial, known as the "blue island" due to the vast number of hydrangeas present on the island. ‘Hydrangea’ is derived from Greek and means ‘water vessel’, in reference to the shape of its seed capsules. The earlier name, Hortensia, is a Latinised version of the French given name Hortense, referring to the wife of Jean-André Lepaute. Hydrangea flowers are produced from early spring to late autumn; the flowerheads contain two types of flowers: small non-showy flowers in the center or interior of the flowerhead, large, showy flowers with large colorful sepals.
These showy flowers are extended in a ring, or to the exterior of the small flowers. Plants in wild populations have few to none of the showy flowers, while cultivated hydrangeas have been bred and selected to have more of the larger type flowers. There are two flower arrangements in hydrangeas with corymb style inflorescences, which includes the grown "bigleaf hydrangea"—Hydrangea macrophylla. Mophead flowers are large round flowerheads resembling pom-poms or, as the name implies, the head of a mop. In contrast, lacecap flowers bear round, flat flowerheads with a center core of subdued, small flowers surrounded by outer rings of larger flowers having showy sepals or tepals; the flowers of some rhododendrons and viburnums can appear, at first glance, similar to those of some hydrangeas. In most species the flowers are white, but in some species, can be blue, pink, light purple, or dark purple. In these species the color is affected by the presence of aluminium ions which are available or tied up depending upon the soil pH.
For H. macrophylla and H. serrata cultivars, the flower color can be determined by the relative acidity of the soil: an acidic soil, will have available aluminum ions and produce flowers that are blue to purple, whereas an alkaline soil will tie up aluminum ions and result in pink or red flowers. This is caused by a color change of the flower pigments in the presence of aluminium ions which can be taken up into hyperaccumulating plants. Lowering the pH of potting soils or mixes does not change the flower color to blue, because these soils have no aluminum ions; the ability to blue or pink a hydrangea is influenced by the cultivar. Some plants are selected for their ability to be blued, while others are bred and selected to be red, pink or white; the flower color of most other Hydrangea species is not affected by aluminum and cannot be changed or shifted. Hydrangeas have a nickname called'Change Rose'. Four fossil seeds of †Hydrangea polonica have been extracted from borehole samples of the Middle Miocene fresh water deposits in Nowy Sacz Basin, West Carpathians, Poland.
Hydrangeas are popular ornamental plants, grown for their large flowerheads, with Hydrangea macrophylla being by far the most grown with over 600 named cultivars, many selected to have only large sterile flowers in the flowerheads. Hydrangea macrophylla known as Bigleaf Hydrangea, can be broken up into two main categories; some are best pruned on an annual basis. If not pruned the bush will become very'leggy', growing upwards until the weight of the stems is greater than their strength, at which point the stems will sag down to the ground and break. Other species only flower on'old wood', thus new wood resulting from pruning will not produce flowers until the following season. Hydrangea root and rhizome are indicated for treatment of conditions of the urinary tract in the PDR for Herbal Medicine and may have diuretic properties. Hydrangeas are moderately toxic if eaten, with all parts of the plant containing cyanogenic glycosides. Hydrangea paniculata is sometimes smoked as an intoxicant, despite the danger of illness and/or death due to the cyanide.
The flowers on a hydrangea shrub can change from blue to pink or from pink to blue from one season to the next depending on the acidity level of the soil. Adding organic materials such as coffee grounds, citrus peel or eggshells will increase acidity and turn hydrangea flowers blue, as described in an article on Gardenista. A popular pink hydrangea called Vanilla Strawberry has been named "Top Plant" by the American Nursery and Landscape Association; the hybrid "Runaway Bride Snow White", bred by Ushio Sakazaki from Japan, was named Plant of the Year at the 2018 RHS Chelsea Flower Show. In Japan, ama-cha,甘茶 meaning sweet tea, is another herbal tea made from Hydrangea serrata, whose leaves contain a substance that develops a sweet taste. For the fullest taste, fresh leaves are crumpled and dried, yielding dark brown tea leaves. Ama-cha is used for kan-butsu-e on April 8 every year—the day thought to be Buddha's birthday in Japan. During the ceremony, Ama-cha is served to people in attendance. A legend has it that on the day Buddha was born, nine dragons poured Amrita over him.
In Korean tea
A Place in the World (film)
A Place in the World is a 1992 Argentine drama film co-written, co-produced and directed by Adolfo Aristarain. It stars Federico Luppi, Leonor Benedetto and Cecilia Roth; the drama won numerous awards and was nominated for the Academy Award for Best Foreign Language Film, but was declared ineligible and removed from the final ballot because it had been submitted by Uruguay, which had exercised insufficient artistic control over the film. It is the only film so far to have been disqualified from the Foreign Language Film category after having secured a nomination; the story is set following the death of Argentine President Juan Perón. While they live their lives, the characters argue about the country's most controversial subjects at the time: religion and human rights. José Sacristán as Hans Federico Luppi as Mario Leonor Benedetto as Nelda Cecilia Roth as Ana Rodolfo Ranni as Andrada Hugo Arana as Zamora Gastón Batyi as Ernesto Lorena del Río as Luciana Mario Alarcón as Juan Critic Mick LaSalle, film critic for the San Francisco Chronicle, liked the film and wrote, "A Place in the World is a sensitive, beautifully made coming-of-age story, set against a backdrop of Argentine politics played out on a local scale.
Featuring a cast of strong characters, all driven by their deepest beliefs and passions, this is that rare case of a film that's not just lovely -- it's lively, too."Film critic James Berardinelli wrote, "The acting is uniformly strong, with all the principal and secondary performers delivering believable portrayals. Celia Roth is worthy of mention for the emotion she projects through her eyes, she and Federico Luppi are matched. A Place in the World offers a frank, somewhat unusual view of the relationships that form families and communities. Although the film has a lot more meat to chew on than that, the issues presented by A Place in the World would not generate the same degree of interest without the characters who argue about and live them. It's hard to deny the effectiveness of this marriage between personalities and ideology where neither eclipses the other." A Place in the World, registered for the Golden Globes as an entry from Argentina alone, was submitted in the fall of 1992 to Argentina's Oscar selection committee as a possible contender.
However, the committee chose to submit The Dark Side of the Heart instead. A Place in the World's director Adolfo Aristarain asked Antonio Mercader, Uruguay's Minister of Education and Culture, to submit the film as a Uruguayan entry. After the minister refused, Aristarain took the matter to Manuel Martinez Carril, director of the Cinematheque of Uruguay, who agreed to sponsor the film for submission to the Academy's foreign-language film committee; when the nominations were announced by the Academy on February 17, 1993, A Place in the World was included among the five nominees, was presented as a Uruguayan submission. However, a week the Academy launched an investigation after it was revealed that the film was entirely Argentine with minimal input from Uruguayan artists, it was disqualified three days with the Academy saying it was an Argentine production and that this violated the Academy's rules which require that there be "substantial filmmaking input from the country that submits the film".
There have only been a small number of times in the Academy's history that a film was disqualified after being nominated. One previous case was that of the documentary Young Americans, which had won the Academy Award for Documentary Feature but was ruled ineligible after it was revealed that it had opened theatrically prior to the Academy's eligibility period; the disqualification of A Place in the World was all the more unusual as the Academy decided not to replace it with another film, leaving only four films in competition. Aristarain, who argued that the film was an international co-production between Uruguay and Argentina, contested the Academy's decision, filed suit in the United States District Court for the Central District of California on March 4. Aristarain cited the precedents set by Black and White in Color, Le Bal and Dangerous Moves, all of which were French productions but which were submitted by Ivory Coast and Switzerland. After the judge determined that, while Academy procedures may have been lax, the organization had followed its rules, Aristarain decided not to take the case to appeal, as ballots were being mailed to voters and the awards ceremony was about to take place.
Because of the controversy surrounding A Place in the World's disqualification, the Academy adopted in the summer of 1993 new guidelines aimed at clarifying its eligibility rules for the Foreign Language Film category, at making more specific the role played by each crew member. It is worth mentioning that in its November 2001 press release listing the foreign language submissions to the 74th Academy Awards, the Academy announced that a film from Uruguay had "qualified this year for the first time", thereby omitting any mention of A Place in the World. Wins San Sebastian Film Festival: Golden Seashell, Adolfo Aristarain. Nantes Three Continents Festival: Audience Award, Adolfo Aristarain. Goya Awards: Best Foreign Film in Spanish Language. Argentine Film Critics Association Awards: Silver Condor, Best Actor, Federico Luppi. Fribourg International Film Festival
Just Like Our Parents
Just Like Our Parents is a 2017 Brazilian drama film directed by Laís Bodanzky. It was screened in the Panorama section at the 67th Berlin International Film Festival. Maria Ribeiro as Rosa Paulo Vilhena as Dado Felipe Rocha as Pedro Sophia Valverde as Nara Jorge Mautner as Homero Just Like Our Parents on IMDb
Buddies (2012 film)
Buddies is a 2012 Brazilian adventure-comedy film written and directed by Marcelo Galvão. The film tells the story of three young people with Down syndrome working in the video library of the institute where they live. One day, inspired by the movie Louise, they decide to flee in search of new adventures, it was shot in São Paulo, Paulínia, all three in São Paulo, Florianópolis and Laguna, in Santa Catarina, in Torres, Rio Grande do Sul, as well as in Buenos Aires, Argentina. The Portuguese film, Buddies, is about three teenage friends, Stallone and Marcio, who all have Down Syndrome. All three young adults live in an institution with other kids and teenagers who have Down Syndrome; the film describes these three characters by first addressing how they each arrived at the institution went on to illustrate a day in the life at the institution. Stallone and Marcio all work together in the video library, where they found the inspiration to run away, they each had a wish and running away from the institution was the only way their wishes could come true.
Stallone wished to see the sea, Aninha wished to get married, Marcio wished to fly. So, in the middle of the night, the three friends set off on their adventure. While out on their road trip to fulfill their wishes, the gang of friends made a few stops along the way. Shortly after leaving the institution, the friends realized that they were going to have to eat somehow while on their road trip. During this entire road trip, there were two police officers following them, looking to return the three young friends back to the institution; each stop the friends made during their road trip, they stirred up a little bit of trouble and soon after, the officers were on their tails again. Stallone and Marcio stopped at a carnival and stole costumes, they stopped at an old woman’s house to ask for directions, they dined at an expensive restaurant; each of the characters saw. First, Stallone saw the sea after traveling on a bus. Next, Aninha got married like she had dreamed of. However, she did not marry a singer like she had dreamed of.
Instead, she married Stallone. Marcio flew home in an airplane, after Stallone jumped in front of a bullet for Aninha; the film ends with the groundskeeper telling the story of the three friends to other children at the same institution. One of the protagonists of the film, Ariel Goldenberg, is a fan of the American actor Sean Penn and wanted to realize the dream of bringing the idol to watch the film's release at his side; the promotion includes a video where is shown the story of Ariel, who has Down syndrome and has always been a cinema lover. According to the film's publicist, Aleksandra Zakartchouk, "the idea is to make the video becomes a viral and international news, to reach the hands of Sean Penn."The video features several Brazilian personalities inviting the actor Sean Penn to go to Brazil, including the presenter Otavio Mesquita, actresses Juliana Paes, Gabriela Duarte, Juliana Didone and Tania Khalill, actors Sergio Marone and Lima Duarte, singers Falcão and Rogério Flausino, comedians Marco Luque and Danilo Gentili.
The film was shown at the Red Rock Film Festival in November 8, 2012. It was the feature film that opened the Amazonas Film Festival on November 3, 2012, it will be released in Brazil on March 1, 2013. The film won the 2012 edition of the Festival de Gramado, winning the "Kikito" of Best Feature Film and Best Art Direction, as well as a Special Prize from the Jury, was elected as the best Brazilian film in public shows of São Paulo International Film Festival. Official website Official UK website Buddies on IMDb
Cinema of Brazil
Brazilian cinema was introduced early in the 20th century but took some time to consolidate itself as a popular form of entertainment. The film industry of Brazil has gone through periods of ups and downs, a reflection of its dependency on state funding and incentives. A couple of months after the Lumière brothers' invention, a film exhibition was held in Rio de Janeiro; as early as 1898, the Italian Affonso Segreto filmed the Guanabara Bay from the ship Brésil on a return journey from Europe, though some researchers question the veracity of this event as no copy of the film remains. He would go on to make documentaries with his brother Paschoal Segreto. From the early beginning of the 20th century, as early as 1900 to the year of 1912, Brazilian films had made a major impact on the internal market, as they produced over an annual production of one-hundred films, it is the year of 1908 coined Brazil's "golden age" of Cinema, that the country saw its first popular film. The film was by Antonio Leal, a reconstruction film of The Great Train Robbery, by Edwin S. Porter, titled Os Estranguladores.
An ad of a May 1987 issue of Gazeta de Petrópolis, as shown in 1995 by Jorge Vittorio Capellaro and Paulo Roberto Ferreira, was introduced as the new "birth certificate" of Brazilian cinema, as three short films were advertised: Chegada do Trem em Petrópolis, Bailado de Crenças no Colégio de Andarahy and Ponto Terminal da Linha dos Bondes de Botafogo, Vendo-se os Passageiros Subir e Descer. During this "belle-epoque" of Brazilian cinema, when black and white silent films were less costly to produce, most work resulted from the effort of passionate individuals willing to take on the task themselves rather than commercial enterprises. Neither is given much attention by the state, with legislation for the sector being non-existent. Film theaters only become larger in number in Rio and São Paulo late in the following decade, as power supply becomes more reliable. Foreign films as well as short films documenting local events were most common; some of the first fictional work filmed in the country were the so-called "posed" films, reconstitutions of crimes that had made the press headlines.
The first success of this genre is Francisco Marzullo's Os Estranguladores. "Sung" films were popular. The actors would dub themselves singing during projection. During the 1920s film production flourished throughout several regions of the country: Recife, Cataguases, Juiz de Fora and Guaranésia. In the early 20th century of Brazilian cinema, there was a major lack of Black presence in films that were being made. Brazilian and American films are common in this aspect, as both countries had endured similar types of European colonization, how the colored were not given any time or recognition on film. Many of the early films being produced in Brazil were made by Italian Americans, with respect to the likes of Affonso Segreto.. Another way Brazil and America had similar aspects in their films is the idea of "blackface" in America, the "redface" in Brazil; the indigenous culture of Brazil was shamed as the African Americans were in the country of America, both were used to convey the identities in films by people who were not of such color.
At the end of World War One, silent Brazilian cinema moved to the growing expansion of women and their social class the middle, shows their modernization and diversification. Hollywood influenced the idea of women becoming more seductive in Brazilian cinema as well with new types of hairstyles, smoking cigarettes, looking “exotic”, in terms of appearance. Hollywood films were extremely popular during this time, accounting for as much as 85 percent of film material being exhibited on Brazilian screens in 1928; that year, an estimated 16,464,000 linear feet of film was exported to Brazil, making it Hollywood's third largest foreign market. European films from Germany and France, were exhibited with relative frequency. Fan magazines like Cinearte and A Scena Muda were published during this time, featuring both domestic and Hollywood films and stars. Mário Peixoto's Limite was poorly received by audiences but regarded as masterpiece of the silent film era, along with Humberto Mauro's Ganga Bruta.
Although Peixoto's film was seen by few people, it was considered to be the first experimental film in Brazil's cinema history, doing so only at the age of nineteen years old. What it does so fascinating at the time is integrating inter-related narrations through title cards between three different characters at three different times. Sergei Eisenstein who saw the film in London in the year of 1932, described it as a pure language of cinema. Cinédia was founded by Adhemar Gonzaga in 1930 and was dedicated to the production of popular dramas and burlesque musical comedies, a genre, negatively referred to as chanchada; the chanchada was known to satire popular Hollywood films, dominated Brazil between the years of 1930 until the late 1950s. The chanchada gained much of its influence from the carnival themed celebrations and films in Brazil out of the area of Rio de Janeiro. Actress Carmen Miranda gained visibility overseas. In 1946, Gilda de Abreu's O Ébrio, a film much representative of typical Latin melodrama, became a major hit and drew in around four million viewers.
President Getúlio Vargas became aware of film's growth and, in 1939, created a decree that guaranteed Brazilian films an exhibition quota in film theaters, a law which still exists, though it is now ignored due to lack of proper control. While Vargas' decree may be seen as a positive or nationalistic measure, it has been interpreted as a means of state control and intervention. During the 40's and 50's, fil
José Dumont is a Brazilian TV and movie actor, best known for his role as the family father in Behind the Sun, an award-winning film of director Walter Salles. More he has been lionised for his role as the slick artist agent-entrepreneur in the movie 2 Filhos de Francisco. Born in the state of Paraíba, in Brazilian Northeast, Dumont has the typical physique du rôle of its inhabitants, because of this is chosen for interpreting them, he began his award-studded acting career in the theater and cinema, in 1975. He became better known throughout the country by his noted participation in the films Lúcio Flávio – Passageiro da Agonia, directed by Hector Babenco in 1977, Gaijin, directed by Tizuka Yamasaki, in 1980, his first awards came in 1979, as the best actor in the film festivals of Gramado and Brasília, in O Homem que Virou Suco, directed by João Batista de Andrade, in the film festival of Cuba. In 2004 he was again awarded as best actor in Narradores de Javé. Dumont is very much sought after as an actor in TV series and soap operas.
He is in the permanent cast of Rede Globo. His most noted appearances were in América, Terra Nostra, Tocaia Grande, Guerra Sem Fim, Amazônia, A História de Ana Raio e Zé Trovão, Grande Sertão: Veredas, Corpo a Corpo, Padre Cícero, Fernando da Gata, Bandidos da Falange and Lampião e Maria Bonita, this last being his first TV appearance, with a role as lieutenant Zé Rufino in the story about the bandit Lampião. Tungstênio – Seu Nery Era o Hotel Cambridge – Apolo Trash – A Esperança vem do Lixo – Carlos A Hora e a Vez de Augusto Matraga – Padre Zequiel O Sonho de Inacim – Miguel 2 Filhos de Francisco Cidade Baixa – Lower City Olga Narradores de Javé – The Storytellers Abril Despedaçado – Behind the Sun At Play in the Fields of the Lord Running Out of Luck A Hora da Estrela – Hour of the Star Avaete, Seed of Revenge Os Trapalhões e o Mágico de Oróz – The Tramps and the Wizard of Oróz Memórias do Cárcere – Memoirs of Prison O Homem que Virou Suco Gaijin - Os Caminhos da Liberdade – Gaijin, a Brazilian Odissey Colonel Delmiro Gouveia Lúcio Flávio, o Passageiro da Agonia Morte e Vida Severina 2016 Velho Chico – Zé Pirangueiro 2015 I Love Paraisópolis – Seu Expedito Rufinno 2014 Milagres de Jesus – Job 2013 Dona Xepa – Esmeraldino Losano 2012 O Milagre dos Pássaros – Capitão Lindolfo Ezequiel 2012 Fora de Controle – Macieiro 2010 Ribeirão do Tempo – Romeu Fulgêncio 2008 Os Mutantes - Caminhos do Coração – Teófilo Magalhães 2007 Caminhos do Coração – Teófilo Magalhães 2007 Luz do Sol – Fausto 2006 Cidadão Brasileiro – Benvindo Ferraz 2005 América – Bóia 1999 Terra Nostra – Batista 1997 Mandacaru – Teco 1995 Tocaia Grande – Né Cachorrão 1993 Guerra sem Fim – Penteado 1991 Amazônia – Raimundo 1990 A História de Ana Raio e Zé Trovão – Mané Coxo 1990 Rosa dos Rumos – Antenor 1990 Pantanal – Gil 1988 Olho por Olho – Eurípedes Peçanha 1987 Carmem – Aluísio 1985 Grande sertão: veredas – Zé Bebelo 1985 De Quina pra Lua – Cróvis/Peixoto 1984 Corpo a Corpo – Darci 1984 Padre Cícero – Franco Rabelo 1983 Fernando da Gata – Fernando da Gata 1983 Bandidos da Falange – Valdir 1982 Lampião e Maria Bonita – Tenente Zé Rufino 1981 Morte e Vida Severina – Severino Candango Trophy, from Brasilia Festival 1998:'Best Actor", for"Kenoma" 1985:'Best Actor", for"Starring Hour" 1980:'Best Actor", for"The Man Who Turned Juice"Kikito de Ouro, of the Gramado Festival 1984:'Best Actor", for"The Ghostly Bahian" 1981:'Best Actor", for"The Man Who Turned Juice" 1980:'Best actor", for"Gaijin – the paths of freedom"Havana Festival 1980:'Best Actor", for"The Phantom Bahian"Brazilian Film Festival of Miami 1999:'Best Actor", for"Kenoma"APCA Trophy 1999:'Best Actor", for"Kenoma" José Dumont on IMDb José Dumont.
Biography. CAFRI Cinema site