Nelson Pereira dos Santos – Vidas Secas aka Barren Lives [+Extras] (1963)

 Nelson Pereira dos Santos   Vidas Secas aka Barren Lives [+Extras] (1963)

29f7c043f76a2bde437fd0d52a185152 Nelson Pereira dos Santos   Vidas Secas aka Barren Lives [+Extras] (1963)

Filmed with a strong sense of compassion for the impoverished and an underlying hatred for the injustice which forces them into the lives they must live, this is one of the first works from Brazil’s Cinema Novo. A poor Brazilian family struggle to earn a living when they take a job overseeing the livestock of a wealthy rancher. They move into an abandoned house, and their fortunes begin to take an upward turn. The father is duped into a card game with a crooked local policeman. The ranch hand protests, and a fight ensues that results in his beating by the cop. Despite being the victim of injustice, the man believes there should be some semblance of law and order and makes no protest about the incident. A severe drought has the man moving on from the ranch with his family to earn their living elsewhere. Continue reading

Nelson Pereira dos Santos – Rio Quarenta Graus aka Rio 40ºC (1955)

712 Nelson Pereira dos Santos   Rio Quarenta Graus aka Rio 40ºC (1955)

thgc Nelson Pereira dos Santos   Rio Quarenta Graus aka Rio 40ºC (1955)

Quote:
“As important to Latin American cinema as Godard’s A bout de souffle was to European film” (Toronto I.F.F.), Nelson Pereira dos Santos’s down-and-dirty, samba-fuelled Rio, 40 Degrees was one of the first Brazilian features to realistically, sensitively, sympathetically depict the plight of Brazil’s impoverished black population. The film follows five different peanut vendors from the slums as they make their way on a hot summer’s day through five different regions of Rio: Copacabana, Sugar Loaf, Corcovado, Quinta da Boa Vista, and Maraca†a. The beneficent influence of neorealism is apparent in the film’s admirable use of location shooting and non-professional actors; its engaging slice-of-life cross-section of Brazilian society and social class is set to a lively pop music score. Banned by Rio’s Chief of Police for it depiction of “marginal elements,” Rio, 40 Degrees was only released after a loud campaign by artists and intellectuals — becoming the first cause celebre of Brazil’s Cinema Novo. “A mix of comedy, drama and melodrama, dos Santos has fashioned an enduring landmark, a film that still retains its freshness and original vitality” Continue reading

Nelson Pereira dos Santos – Como Era Gostoso o Meu Frances AKA How Tasty Was My Little Frenchman [+Extras] (1971)

frances Nelson Pereira dos Santos   Como Era Gostoso o Meu Frances AKA How Tasty Was My Little Frenchman [+Extras] (1971)

thgc Nelson Pereira dos Santos   Como Era Gostoso o Meu Frances AKA How Tasty Was My Little Frenchman [+Extras] (1971)

One of the best movies of the Brazilian Cinema Novo movement, as well as a key work by that movement’s greatest auteur, How Tasty Was My Little Frenchman has been a favorite of film scholars since its 1971 release, when it was banned in its home country and rejected by the Cannes Film Festival for its “excessive nudity.” Outside of film schools and cinematheques, however, this subversive satire has been relatively inaccessible in America, a situation that the indispensable New Yorker Video label has finally rectified with their DVD release of the film. Director Nelson Pereira dos Santos sets his outrageous comedy about cultural misunderstandings in the 16th century, but his gifts as a cinematic storyteller allow the movie to resonate with modern audiences as though it was set—and produced—yesterday. Continue reading

Nelson Pereira dos Santos – A Terceira Margem do Rio AKA The Third Bank of the River (1994)

terceiramar1 Nelson Pereira dos Santos   A Terceira Margem do Rio AKA The Third Bank of the River (1994)

29f7c043f76a2bde437fd0d52a185152 Nelson Pereira dos Santos   A Terceira Margem do Rio AKA The Third Bank of the River (1994)

From the book “Brazilian Cinema” – Edited by Randal Johnson and Robert Stam:

“The Third Bank of the River” is a coproduction (French and Brazilian) and, like the Guerra film, it too ingeniously interweaves diverses stories by its source author. Beginning with the story that provides the title for the film – the virtually wordless drama of a man who abandons his family to live on a boat in the middle of the river – Nelson Pereira dos Santos integrates four other stories. Liojorge (Ilya São Paulo) the son (in Nelson’s re-creation) of the enigmatic boatman of the first story, follows an enchanted cow and thus becomes the protagonist of another story (“Seqüência”) in which the cow leads him to the most beautiful woman in the world (Sonja Saurin). Continue reading

Nelson Pereira dos Santos – Raízes do Brasil: Uma Cinebiografia de Sérgio Buarque de Holanda AKA The Roots of Brazil (2003)

raizescoverzd7 Nelson Pereira dos Santos   Raízes do Brasil: Uma Cinebiografia de Sérgio Buarque de Holanda AKA The Roots of Brazil (2003)

thgc Nelson Pereira dos Santos   Raízes do Brasil: Uma Cinebiografia de Sérgio Buarque de Holanda AKA The Roots of Brazil (2003)

Cinebiography of celebrated historian Sérgio Buarque de Hollanda, who wrote the seminal “Raízes do Brasil” in 1935, with interviews with his large family (including his widow and his seven children, among them famous composer/singer/writer Chico Buarque and singer Miúcha) and scholar friend Antonio Candido. Written by fabreu Continue reading

pixel Nelson Pereira dos Santos   Raízes do Brasil: Uma Cinebiografia de Sérgio Buarque de Holanda AKA The Roots of Brazil (2003)