Carandiru is a 2003 Brazilian drama film directed by Héctor Babenco. It is based on the book Estação Carandiru by Dr. Drauzio Varella, a physician and AIDS specialist, portrayed in the film by Luiz Carlos Vasconcelos. Carandiru tells some of the stories that occurred in Carandiru Penitentiary, the biggest prison in Latin America; the story culminates with the 1992 massacre, 102 by Police. The film was the last thing for which the prison was used before it was demolished in 2002, one year before the release of the film. Babenco states that Carandiru is the “most realistic film made,” presenting a new kind of Brazilian realism inspired by Cinema Novo. Due to this focus on portraying reality and the film's memoir inspiration, Carandiru can be read as a docudrama or as a testimony from the prisoners; this episodic story is set in São Paulo's notorious prison Carandiru, one of Latin America's largest and most violent prison systems. Carandiru tells the stories of different inmates at Sāo Paulo's Carandiru Penitentiary through the filter of Dr. Varella, who goes to the prison to test the inmates for HIV.
Similar to many Brazilian crime films, Dr. Varella narrates Carandiru, however, it is not his story, told, he acts as a filter for the stories of those. The inhumane conditions of the prison, such as the 100 square foot cells inhabited by sometimes up to 16 prisoners, are shown, as well as the lack of control that the guards have. Order in the prison is controlled by the prisoners themselves, which leads them to face problems such as murders, rampant drug use, disease all within the prison. Several stories are developed; some of the more memorable stories are Lady Di and No Way's marriage and Zico's family dynamic and Zico's crack addictions, Majestade's “affairs.” The prisoners are humanized to the audience by telling their stories, which makes the riot and the Carandiru Massacre more painful for the audience to watch. Thus, when the film ends with real shots of Carandiru Penitentiary's demolition, Babenco employs catharsis. Innocence At one point during the film, Ebony sarcastically asks Dr. Varella if he's noticed that all the inmates of Carandiru are innocent.
All the inmates do see themselves as innocent, which speaks to the idea that the prisoners see themselves as people forced into crime. In this sense, Carandiru employs Dr. Varella as a social mediator who listens to all versions of the prisoners' truths, allowing the audience a glimpse into their world, prompting the audience to see the incarcerated from a different perspective. By giving the prisoners a voice, Carandiru gives the prisoners a chance to tell their stories without facing judgment. Morality The theme of morality plays closely to the theme of innocence in Carandiru. While some of the characters are innocent, others commit their crimes for moral reasons. Deusdete shoots one of the men. Another example is Majestade. Majestade, though guilty of having two wives that only sort of know about each other, is not guilty of arson and attempted murder. Law systems While the focus of Carandiru is humanizing the prisoners, it still emphasizes the flawed Brazilian legal system and the prisoners' own legal system.
Deusdete, who murders a man for raping his sister wants to report the rape to the police. However, his friends advise him not to, because the police will not take his allegation and will not look to punish the rapists. Thus, Deusdete feels the need to take matters into his own hand, creating his own “legal system.” The idea of creating a “legal system,” or “prisoner code of honor” fascinates Babenco, who stated that the code of honor was one of the most interesting aspects of the film. This highlights a problem rampant in the post-colony – that of indirect government in both the streets and the prisons. Brutality vs. Civilization The focus on unfair law systems comes into play during the actual massacre during the climax of the film; the prisoners end their revolt and surrender all their makeshift weapons at the request of the prison warden. However, the police force storms killing hundreds of defenseless prisoners; the police are illustrated as monsters, killing to kill, forcing the audience to question whether the police or the prisoners are more civil.
With that, Carandiru illuminates that Brazil has two civilizations, both of which are brutal: those who live under the governmental law and those who live under their own set of laws. Luiz Carlos Vasconcelos as Dr. Drauzio Varella Rodrigo Santoro as Lady Di Milton Gonçalves as Chico Lázaro Ramos as Ezequiel Caio Blat as Deusdete Milhem Cortaz as Peixeira Wagner Moura as Zico Floriano Peixoto as Antônio Carlos Rita Cadillac as Herself Gero Camilo as No Way Ivan de Almeida as Ebony Ailton Graça as Majestade Maria Luisa Mendonça as Dalva Aida Leiner as Rosirene Júlia Ianina as Francineide Sabrina Greve as Catarina Nelson Machado as Carioca Director Héctor Babenco shot the film on location in the actual penitentiary, in neo-realist fashion he used a huge cast of novice actors — some of whom are former inmates; the film was first presented at the II Panorama Internacional Coisa de Cinema in Brazil on March 21, 2003. It opened wide in Brazil on April 11, 2003, it was the highest-grossing Brazilian film of the year and third overall (behind Bruce Almig
Brazil the Federative Republic of Brazil, is the largest country in both South America and Latin America. At 8.5 million square kilometers and with over 208 million people, Brazil is the world's fifth-largest country by area and the fifth most populous. Its capital is Brasília, its most populated city is São Paulo; the federation is composed of the union of the 26 states, the Federal District, the 5,570 municipalities. It is the largest country to have Portuguese as an official language and the only one in the Americas. Bounded by the Atlantic Ocean on the east, Brazil has a coastline of 7,491 kilometers, it borders all other South American countries except Ecuador and Chile and covers 47.3% of the continent's land area. Its Amazon River basin includes a vast tropical forest, home to diverse wildlife, a variety of ecological systems, extensive natural resources spanning numerous protected habitats; this unique environmental heritage makes Brazil one of 17 megadiverse countries, is the subject of significant global interest and debate regarding deforestation and environmental protection.
Brazil was inhabited by numerous tribal nations prior to the landing in 1500 of explorer Pedro Álvares Cabral, who claimed the area for the Portuguese Empire. Brazil remained a Portuguese colony until 1808, when the capital of the empire was transferred from Lisbon to Rio de Janeiro. In 1815, the colony was elevated to the rank of kingdom upon the formation of the United Kingdom of Portugal and the Algarves. Independence was achieved in 1822 with the creation of the Empire of Brazil, a unitary state governed under a constitutional monarchy and a parliamentary system; the ratification of the first constitution in 1824 led to the formation of a bicameral legislature, now called the National Congress. The country became a presidential republic in 1889 following a military coup d'état. An authoritarian military junta came to power in 1964 and ruled until 1985, after which civilian governance resumed. Brazil's current constitution, formulated in 1988, defines it as a democratic federal republic. Due to its rich culture and history, the country ranks thirteenth in the world by number of UNESCO World Heritage Sites.
Brazil is considered an advanced emerging economy. It has the ninth largest GDP in the world by nominal, eight and PPP measures, it is one of the world's major breadbaskets, being the largest producer of coffee for the last 150 years. It is classified as an upper-middle income economy by the World Bank and a newly industrialized country, with the largest share of global wealth in Latin America. Brazil is a regional power and sometimes considered a great or a middle power in international affairs. On account of its international recognition and influence, the country is subsequently classified as an emerging power and a potential superpower by several analysts. Brazil is a founding member of the United Nations, the G20, BRICS, Union of South American Nations, Organization of American States, Organization of Ibero-American States and the Community of Portuguese Language Countries, it is that the word "Brazil" comes from the Portuguese word for brazilwood, a tree that once grew plentifully along the Brazilian coast.
In Portuguese, brazilwood is called pau-brasil, with the word brasil given the etymology "red like an ember", formed from brasa and the suffix -il. As brazilwood produces a deep red dye, it was valued by the European textile industry and was the earliest commercially exploited product from Brazil. Throughout the 16th century, massive amounts of brazilwood were harvested by indigenous peoples along the Brazilian coast, who sold the timber to European traders in return for assorted European consumer goods; the official Portuguese name of the land, in original Portuguese records, was the "Land of the Holy Cross", but European sailors and merchants called it the "Land of Brazil" because of the brazilwood trade. The popular appellation eclipsed and supplanted the official Portuguese name; some early sailors called it the "Land of Parrots". In the Guarani language, an official language of Paraguay, Brazil is called "Pindorama"; this was the name the indigenous population gave to the region, meaning "land of the palm trees".
Some of the earliest human remains found in the Americas, Luzia Woman, were found in the area of Pedro Leopoldo, Minas Gerais and provide evidence of human habitation going back at least 11,000 years. The earliest pottery found in the Western Hemisphere was excavated in the Amazon basin of Brazil and radiocarbon dated to 8,000 years ago; the pottery was found near Santarém and provides evidence that the tropical forest region supported a complex prehistoric culture. The Marajoara culture flourished on Marajó in the Amazon delta from 800 CE to 1400 CE, developing sophisticated pottery, social stratification, large populations, mound building, complex social formations such as chiefdoms. Around the time of the Portuguese arrival, the territory of current day Brazil had an estimated indigenous population of 7 million people semi-nomadic who subsisted on hunting, fishing and migrant agriculture; the indigenous population of Brazil comprised several large indigenous ethnic groups. The Tupí people were subdivided into the Tupiniquins and Tupinambás, there were many subdivisions of the other gro
Afro-Brazilians are Brazilians who have African ancestry. The term does not have widespread use in Brazil, where social constructs and classifications have been based on appearance. Many members of another group of people, multiracial Brazilians or pardos have a range of degree of African ancestry. Preto and pardo are among five color categories used by the Brazilian Census, along with branco and indígena. In 2010, 7.6% of the Brazilian population, some 15 million people, identified as preto, while 43% identified as pardo. Pretos tend to be predominantly African in ancestry, while pardos tend to have a lesser percentage of African ancestry. On average pardos are predominantly European, with Native American ancestries. Since the early 21st century, Brazilian government agencies such as the Special Secretariat for Policies to Promote Racial Equality and the Instituto de Pesquisa Econômica Aplicada, have considered combining the categories preto and pardo, as a single category called negro, because both groups show socioeconomic indications of discrimination.
They suggest doing. This decision has caused much controversy because there is no consensus about it in Brazilian society. Brazilians use the American-style phrase "African Brazilian" as a term of ethnic identity and never in informal discourse: the IBGE's July 1998 PME shows that, of Black Brazilians, only about 10% identify as being of "African origin". In the July 1998 PME, the categories Afro-Brasileiro and Africano Brasileiro were not chosen at all. In the 1976 National Household Sample, none of these terms was used once. Brazilian geneticist Sérgio Pena has criticised American scholar Edward Telles for lumping pretos and pardos in the same category. According to him, "the autosomal genetic analysis that we have performed in non-related individuals from Rio de Janeiro shows that it does not make any sense to put pretos and pardos in the same category"; as many pardos are of European ancestry, Pena questioned studying them together with pretos, who are of African ancestry. For example, an autosomal genetic study of students in a school in the poor periphery of Rio de Janeiro found that the pardos among the students were found to be on average more than 80% European in ancestry.
Before testing, the students identified as 1/3 1/3 African and 1/3 Native American. According to Edward Telles, three different systems related to "racial classification" along the White-Black continuum are used in Brazil; the first is the Census System, which distinguishes three categories: branco and preto. The second is the popular social system that uses many different categories, including the ambiguous term moreno; the third is the Black movement, which distinguishes only two categories, summing up pardos and pretos as negros, putting all others as "whites". More the term afrodescendente has been adopted for use, but it is restricted to formal discourse, such as governmental or academic discussions, being viewed by some as a cultural imposition from the "politically correct speech" common in the United States; the first system referred by Telles is that of the Brazilian Institute of Statistics. In the Census, respondents may identify their ethnicity or color from five categories: branca, preta, amarela or indígena.
The term parda needs further explanation. In that census, people were asked for their "colour or race"; these slashes were summed up in the category pardo. In practice this means answers such as pardo, mulato, caboclo etc. all indicating mixed race. In the following censuses, pardo was added as a category on its own, included Amerindians; the latter were defined as a separate category only in 1991. It is a term for people of color who are lighter than blacks, does not imply a black-white mixture, as there are some indigenous persons. Telles' second system is that of popular classification. Two IBGE surveys made more than 20 years apart (the 1976 National Household Sample Survey and the July 1998 Monthly Employment Survey have been analyzed to assess how Brazilians think of themselves in racial terms; the IBGE thought. Data Folha has conducted research on this subject; the results of these surveys seem to coincide in some fundamental aspects. First, a great number of racial terms are in use in Brazil, indicating a flexibility in thinking about the topic.
The 1976 PNAD found that people responded with a total of 136 different terms to the question about race. However, most of these terms are used by small numbers of people. Telles notes that 95% of the population used one of 6 different terms for people of color and at le
Cafundó is 2005 Brazilian historical drama film written and directed by Paulo Betti and Clóvis Bueno and starring Lázaro Ramos. Cafundó is a biopic of miracle worker preto velho João de Camargo of Sorocaba and is based on the book João de Camargo de Sorocaba: O Nascimento de uma Religião by Carlos de Campos and Adolfo Frioli; the title comes from a former quilombo, the source of João de Camargo's original spiritual inspiration, located in today's Salto de Pirapora. São Paulo state, 1890s. João is a former slave and the son of an Orisha priestess and works as a muleherd for a coronel. One day, his close friend Cirino decide to leave the farm. João takes his mother to the bastion of Afro-American religion in the vicinity. However, João takes errands to work in menial jobs, he falls in love. Only after an unhappy marriage with Rosário and his mother's demise, João has a series of visions and decides to work as a spiritual leader for Sorocaba. In 1906, he builds a church with help from Cirino and begins to preach his syncretic faith, a blend of Orisha worship, veneration of Catholic saints, Kardecist spiritism.
To reconstruct the atmosphere of the 19th century, the natural scenery of Ponta Grossa and historic buildings of Lapa, Paranaguá and Antonina were chosen as filming locations. The film won five gold Kikitos at the Gramado Film Festival, in the categories of best actor, best art direction, best cinematography and the special jury prize, it was awarded as best film and best cinematography, at ParatyCine. Slavery in Brazil Umbanda Cafundó on IMDb
The Man of the Year (2003 film)
The Man of the Year, is a 2003 Brazilian drama film produced and directed by José Henrique Fonseca. It stars Murilo Benício, Cláudia Abreu, Natália Lage. Maiquel is a ordinary man living in the Baixada Fluminense region of Rio de Janeiro. After losing a soccer bet to his friends, Maiquel must dye his hair blond; this unusual event in his otherwise mundane life, inspires Maiquel to ask his hairdresser, Cledir out to a bar where he is confronted and bullied by a local criminal named Suel. He decides to settle the matter by subsequently buying a rifle which he uses to shoot and kill Suel the next day, he does so in front of Suel's girlfriend. Instead of reprimanding Maiquel, most everyone in the neighborhood, including the police, are overjoyed that he has killed off this local pest, show their gratitude with gifts. With the news of Maiquel's rise to heroism, influential locals hire him to kill others for him, turning him into a full-on hitman. Maiquel's once dull life becomes one filled with drugs, sex and violence as he becomes detached from his wife and becomes less of the "ordinary man" he once was.
This path of destruction leads Maiquel to become an outlaw on the run. The film ends with Maiquel dying his hair black and running from the police, realizing just how much his life has changed; the Man of the Year on IMDb The Man of the Year profile, San Francisco International Film Festival website
Insensato Coração is a Brazilian telenovela produced and broadcast by Rede Globo that first premiered 17 January 2011, replacing Passione and ended on 19 August 2011, followed by Fina Estampa. It is created and written by Gilberto Braga and Ricardo Linhares in collaboration with Ângela Carneiro, Fernando Rebello, Izabel de Oliveira, João Ximenes Braga, Maria Helena Nascimento and Nelson Nadotti. Directed by Dennis Cavalho and Vinícius Coimbra together with Cristiano Marques, Flávia Lacerda, Maria de Médicis and Luísa Lima. Starring Antonio Fagundes, Glória Pires, Eriberto Leão, Paola Oliveira, Lázaro Ramos, Camila Pitanga, Gabriel Braga Nunes, Deborah Evelyn, Herson Capri, Deborah Secco, Natália do Vale, Nathalia Timberg, Tarcísio Meira and Paloma Bernardi. Irrational Heart revolves around unreasonable attitudes and the consequences generated that threaten to change the course of many lives; this action filled, thrilling telenovela follows the fierce relationship of brothers Pedro and Leo Brandão.
Good-natured Pedro is a pilot, engaged to be married but falls in love with Marina Drummond. They meet during the high jacking of a plane and together take control of the flight, allowing for a safe landing. In appreciation, Marina impulsively kisses Pedro, they are connected, but they are unaware that Marina is an old college friend of Pedro's fiancée, Luciana. When they find this out and decide to go separate ways an unpredictable series of events is unleashed. Pedro faces a period of recovery after being tried and arrested for a crime that will not go unpunished and Marina must put her feelings on hold after he is freed. Unlike his brother Pedro, Leo is greedy, his perpetual envy for his brother causes him to make irrational choices that involve stealing and kidnapping. To top it off, their mother, Wanda is overprotective of Leo and makes foolish choices in her obsession for her son, but Pedro has underestimated just how clever and cunning his sibling can be. Not only does the relentless Leo manage to edge aside his brother in the eyes of Marina, but he succeeds in deceiving Norma, a naïve nurse who develops a genuine affection for him.
He only keeps up the charade of their romance in a desperate bid to steal money from Norma’s boss. But after serving a jail sentence for a crime she didn’t commit, Norma will be driven by a strong desire for vengeance against Leo. Before long, irrational actions transform two once-happy brothers into bitter rivals with Pedro demanding justice for Leo's misconduct. Brazil - Rede Globo Portugal - SIC Georgia - Rustavi 2 Bolivia - Rede Unitel Peru - ATV Chile - Canal 13 Uruguay - Teledoce Paraguay - SNT Nicaragua - Televicentro South Korea - Canal Tele Novela Mozambique - STV El Salvador - Telecorporación Salvadoreña Canal 4 Venezuela - Venevision Plus Poland - iTVN Kenya - NTV Kenya Uganda - NTV Uganda Cuba - Cubavision United States - América Teve Colombia - VmasTV Israel - Viva Armenia - ArmeniaTv Puerto Rico - América CV Serbia - Happy TV France - IDF1 United Arab Emirates - United Arab Emirates - Dubai One Argentina - Telefe Official website Insensato Coração on IMDb
Lower City is a 2005 Brazilian drama film directed by Sérgio Machado. It was released in Brazil and to international film festivals in 2005, including being screened in the Un Certain Regard section at the 2005 Cannes Film Festival, its general release in the United States was in 2006 in New York. Lifelong friends Deco and Naldinho share ownership of an rusting boat in Salvador, Brazil. A strong bond exists between the two men. "No woman will come between us," Naldinho tells Deco, Deco concurs: "All the women in the world couldn't come between us." That bond is tested after the men meet a dancer and prostitute. Karina needs a ride, she offers the two men her "services" in exchange for transport on their boat and a little cash; the emotional entanglements that result from Karina's "deal" are stronger than the trio expected. Deco and Naldinho develop a desire to possess Karina. Karina's desires are more subtle, though it is clear that she feels both a sisterly affection and sexual attraction toward the two men.
Lázaro Ramos as Deco Wagner Moura as Naldinho Alice Braga as Karina Harildo Deda as Careca Maria Menezes as Luzinete João Miguel as Edvan Débora Santiago as Sirlene José Dumont as Sergipano Scott, A. O.. A Love Triangle With Soft Edges; the New York Times, p. B16 Lower City on IMDb