Box office success, Elite Squad shows a naked reality that still persists in Brazil. The film shows the daily life of a group of police officers and a BOPE captain who wants to find a successor to his position. Starring actor Wagner Moura and directed by José Padilha, Elite Troop shows the reality of many military police officers and the war on drug trafficking. Make a visit to https://real-couchtuner.com/ for the best results now.
Central of Brazil (1998)
The film earned two Oscar nominations, one for Best Actress for Fernanda Montenegro and one for Best Foreign Film. Central do Brasil revolves around Dora, a bitter former teacher who makes her living writing letters to illiterate people, who speak what they would like to tell. Only, she writes, she gets the money and never posts the letters. And so she goes on living until she meets Joshua, a boy of nine, the son of one of his clients, who is left without his mother. Reluctantly, she sets off on a trip to the northeast in search of Joshua’s father, whom the boy has never met.
Acerola and Laranjinha, childhood friends, are approaching adulthood. While Acerola takes care of her son, as his mother goes to work in Sao Paulo, Laranjinha tries to find out the whereabouts of his long-lost father. However, some past truths are beginning to surface, making the relationship between these two friends tested.
God and the Devil in the Land of the Sun (1964)
Glauber Rocha’s film was considered one of the most important for the Cinema Novo movement, changing the history of Brazilian cinema. The production tells the story of Manuel, a cowboy who revolts against the exploitation imposed by Colonel Moraes, leading him to the point of murdering the colonel in a fight. With this, Manuel escapes with his wife, Rosa, joining the followers of Blessed Sebastião. But with the death of a six-year-old, Rose kills the blessed. At the same time, Antonio das Mortes is a hitman who promises to kill everyone who swears allegiance to Blessed Sebastian.
The terms “national” and “popular” have always been part of the discussions of Brazilian cinema, since its inception, through all the times of our cinematography. The concern with showing a genuinely national cinema for the general spectator audience has placed great names in the history of Brazilian cinema in similar or divergent, joint or antagonistic positions.
In the early years of the beginning of the last century, the national term applied to Brazilian cinema was not a matter of merit, it did not carry with it a framework of values, where the “national” was not called good or bad cinematic quality. This is because the indication of the nationality of national films was only a form of origin differentiation. However, to define a film as national at that time, that is, in 1910, it was not enough to have been made in Brazil that is, produced in our territory, but that its subject or theme was national, especially when it showed our beauties. and our customs, peoples, events and personalities.
Thus, at the beginning of our cinematography, in the first decades of the last century, the term “national” was linked to what the film showed and not to what it is nor its form or language, as we will also deal with later. However, in these aspects of form and language, the term “national” begins to approach the first understanding of the term “popular,” when the genre of the magazine typically used in theatrical performances of the time was the one that most enamored.