#murilo hauser

[addictivecontradiction]

A vida invisível, 2019

[allthebrazilianpolitics]

Oscars: Brazil Submits Walter Salles Picture ‘I’m Still Here’ To Best International Feature Film Race

Brazil has selected Walter Salles’ well-received comeback feature I’m Still Here to represent it in the Best International Feature Film at the 97th Academy Awards.

The picture stars Fernanda Torres as the real-life figure of Eunice Paiva, whose husband Rubens Paiva disappeared in the early years of the 1964 to 1985 Brazilian military dictatorship.

It enjoyed a buzzy world premiere in Venice in Competition, receiving a 10-minute ovation and going on to win Best Screenplay for Heitor Lorega and Murilo Hauser.

The film has since made its North American premiere in Toronto and is playing in San Sebastian this week, with lots of awards season chatter in the backdrop.

Continue reading.

[whileiamdying]

‘I’m Still Here’ Review: Walter Salles Returns Home With the Powerful Story of a Broken Family’s Resistance

Premiering at Venice, the film stars Fernanda Torres as a mother of five children who reinvents herself as a lawyer and activist after suffering a devastating loss at the height of Brazil’s military dictatorship.

BY DAVID ROONEY SEPTEMBER 1, 2024 @ 11:48AM

Fernanda Torres in 'I'm Still Here.' COURTESY OF VENICE FILM FESTIVAL

Walter Salles’ 1998 international breakthrough, Central Station, earned an Oscar nomination for the magnificent Fernanda Montenegro. Now in her 90s, the actress turns up toward the end of the director’s first feature in his native Brazil in 16 years, the shattering I’m Still Here(Ainda Estou Aqui), in a role that requires her to speak only through her expressive eyes. What makes the connection even more poignant is that she appears as the elderly, infirm version of the protagonist — a woman of quiet strength and resistance played by Montenegro’s daughter, Fernanda Torres, with extraordinary grace and dignity in the face of emotional suffering.

Many powerful films have been made about the 21 years of military dictatorship in Brazil, from 1964 through 1985, just as they have about similar oppressive regimes in neighboring South American countries like Chile, Argentina and Uruguay. The human rights abuses of systematic torture, murder and forced disappearances represent an open wound on the psyches of those nations, for which cinema has often served as a vessel for collective memory.

It’s not often, however, that the spirit of protest against the horrors of junta rule is viewed through such an intimate lens as I’m Still Here. That aspect is deepened by evidence throughout the film of Salles’ personal investment in the true story of the Paiva family after patriarch Rubens (Selton Mello), a former congressman, was taken from his Rio de Janeiro house in 1971, ostensibly to give a deposition, and never seen or heard from again.

Salles met the family in the late 1960s and spent a significant part of his youth in their home, which he credits as foundational to his cultural and political development. That accounts for the coursing vitality of the early scenes, as the five Paiva siblings dash back and forth between the house and the beach, and an extended family of friends of all ages seems to be constantly dropping by for drinks and meals and music and lively conversation.

There are sweet throwaway moments like two of the sisters dancing and singing along to the Serge Gainsbourg-Jane Birkin wispy make-out classic “Je t’aime … moi non plus,” without understanding the words. Just watching how one of the youngest kids, Marcelo (Guilherme Silveira), sweet-talks his way into keeping a stray dog they found on the beach conveys the warmth, spontaneity and affectionate scrappiness of the Paiva household dynamic. The young actors playing the kids are all disarmingly natural and appealing.

The first blunt intrusion into the family’s bubble of closeness and comfort comes when eldest daughter Vera (Valentina Herszage) is out with a group of friends and their car is pulled over at a tunnel roadblock. It’s a disturbing scene in which we see teenagers — just minutes earlier cruising along, sharing a joint and laughing — ordered at gunpoint to stand against a wall while military officers question them, searching their faces for any resemblance to the “terrorist killers” they’re looking to apprehend.

An occasional hushed phone conversation or private exchange with a friend suggests Rubens’ involvement in something that needs to be kept quiet. But the script by Murilo Hauser and Heitor Lorega, based on the book by Marcelo Rubens Paiva, saves those details until long after Rubens is taken into custody. That puts us in the same position as his wife and children, wondering what their father could possibly have done to place him in the regime’s crosshairs.

The chill of uncertainty is hardest on Rubens’ wife Eunice (Torres), who does what she can to hide what’s going on from the youngest kids. But having armed strangers in their house and a car parked across the street to keep a constant eye on them is tough to explain, and the older siblings are aware something is very wrong.

The situation escalates when Eunice is hauled off for interrogation. With Vera away in London with family friends, the next oldest, 15-year-old Eliana (Luiza Kozovski), is forced to accompany her mother, with bags put over their heads to keep them from knowing where they are being taken.

The interrogation scenes, set in a grim building with confinement cells, are harrowing. Eunice is sequestered for 12 days. Denied contact with the family lawyer, she’s kept completely in the dark about what’s happening to her daughter and is unable to learn where her husband is being held. She’s coerced over and over to identify people in photo files as possible insurgents, but aside from her husband, she recognizes only one woman who teaches at her daughter’s school. Her isolation and fear are made worse by the constant screams of people being tortured coming through the walls.

There are many moments of raw tenderness after Eunice is released — notably when one of her daughters watches from the bathroom doorway, her face a mix of sorrow and terror, as her mother showers away 12 days of grime.

With the government refusing to acknowledge even that her husband was arrested, Eunice continues fishing for information, talking to Rubens’ friends who tell her the military is “shooting blind,” going after random people based on almost nothing concrete. Unable to make bank withdrawals without her husband’s signature, she struggles to keep up with expenses. At the same time, she begins studying the family lawyer’s case file, foreshadowing her eventual decision to relocate with the five children to São Paulo and return to college.

The chief focus of Marcelo Rubens Paiva’s book is essentially his mother’s quiet heroism — first as she single-handedly shoulders the responsibility of keeping the family together and protected, concealing her grief when the inevitable is confirmed, and subsequently when she earns a law degree at 48 and becomes active in a number of causes. That includes pushing for full acknowledgment from authorities of disappeared people like Rubens after democracy is returned to the country.

Salles’ heartfelt film jumps forward 25 years and then by almost 20 more, allowing us to absorb Eunice’s self-reinvention not in big crusading speeches but simply in her dedication to the work of keeping memories alive and not letting the abuses of the past be swept away.

Perhaps the most beautifully observed arc of the film is the gradual rebuilding of the family. As the children grow up and marry and grandchildren come along, they transition back into a noisy, joyful clan much like the one depicted in carefree scenes at the start. Even the simple process of sorting through boxes of family photos is viewed as a loving act of reclamation in a final stretch that will have many audiences in tears.

Torres (one of the stars of Salles’ terrific early film, Foreign Land, co-directed with Daniela Thomas) is a model of eloquent restraint, showing Eunice’s private pain and her necessary fortitude by the subtlest of means. Only once during the film does she raise her voice in anger after a sad occurrence, beating on the windows of the parked car watching the house in Rio and screaming at the two stone-faced men inside.

The final scenes in which Montenegro steps into the role are bittersweet, as Eunice has become nonverbal and uses a wheelchair, in steep decline with Alzheimer’s. The poignancy is almost overwhelming as we watch her gently lean in, her eyes lighting up and a hint of a smile forming, when Rubens’ photograph appears in a television program on the heroes of the resistance.

The movie looks gorgeous. Adrian Teijido’s agile cinematography uses 35mm to great grainy effect to evoke the ‘70s and Super 8mm home movies shot during that decade provide lovely punctuation. The other key asset to the film is Warren Ellis’ score, which starts out pensive and quietly troubling before shifting almost imperceptibly into a much more emotional vein with the surge of feeling that accompanies the forward time jumps.

While it could use a less generic international title that’s not also a well-known Stephen Sondheim song, I’m Still Here is a gripping, profoundly touching film with a deep well of pathos. It’s one of Salles’ best.

[geekpopnews]

"Ainda Estou Aqui" é escolhido como representante brasileiro no Oscar 2025

A Academia Brasileira de Cinema anunciou que Ainda Estou Aqui irá concorrer à indicação de Melhor Filme Estrangeiro no Oscar pelo Brasil. #aindaestouaqui #oscar2025

A Academia Brasileira de Cinema anunciou nesta xxxx (xx), que “Ainda Estou Aqui” irá concorrer à indicação de Melhor Filme Estrangeiro no Oscar pelo Brasil. O filme foi aclamado em sua estreia no Festival de Veneza e venceu a categoria de Melhor Roteiro na premiação. Com direção de Walter Salles (Central do Brasil) e roteiro de Murilo Hauser e Heitor Lorega, o longa é baseado na história real…

[canseideserpop]

Filme brasileiro "Ainda Estou Aqui", de Walter Salles, vence prêmio de Melhor Roteiro em Veneza

O mais recente trabalho do renomado cineasta brasileiro Walter Salles, “Ainda Estou Aqui“, conquistou o prêmio de Melhor Roteiro na 81ª edição do Festival de Veneza.A honraria, conhecida como Golden Osella, foi entregue aos roteiristas Murilo Hauser e Heitor Lorega durante a cerimônia de encerramento no Palazzo del Cinema, no último dia 07 de setembro.Inspirado no livro homônimo de Marcelo Rubens…

[hotnew-pt]

Filme brasileiro Ainda Estou Aqui ganha prêmio de melhor roteiro no Festival de Veneza #ÚltimasNotícias #Brasil

Hot News Por Redação Rádio Pampa | 7 de setembro de 2024 Os brasileiros Murilo Hauser e Heitor Lorega ganharam o prêmio de melhor roteiro por “Ainda Estou Aqui” no Festival de Veneza de 2024. A cerimônia de premiação foi realizada na tarde desse sábado (7), onde a presidente do júri, Isabelle Huppert, anunciou os vencedores da seleção oficial da 81ª edição da mostra. “É uma grande emoção estar…

[rsnews555]

‘Ainda Estou Aqui’: Longa com Fernanda Torres vence prêmio de Melhor Roteiro no Festival de Veneza

Inspirado no livro homônimo de Marcelo Rubens Paiva, o longa ‘Ainda Estou Aqui‘, dirigido por Walter Salles, que foi aplaudido por 10 minutos na sessão de sua estreia mundial, acaba de receber o prêmio de melhor roteiro para Murilo Hauser e Heitor Lorega, na competição oficial do 81º Festival de Veneza, o Golden Osella, entregue […]

[moviesallday5]

#620 #A Vida Invisivel de Eurídice Gusmão (Invisible Life)

[mantaypeli]

La vida invisible de Eurídice Gusmão

La vida invisible de Eurídice Gusmão

★★★★★

Cine con mayúsculas el que nos regala el polifacético artista de Fortaleza Karim Aïnouz con su último filme, A Vida Invisível de Eurídice Gusmão. Quizá una de las tres mejores películas que se pueden disfrutar en esta 64 Seminci y todo un deleite para los amantes del séptimo arte. Les haré una confesión, entre la prensa existía cierto temor a priori por la proyección de esta cinta de 139…

[kartaprticek]

Invisible Life (2019) A Vida Invisível (original title)

Director: Karim Aïnouz Writers: Murilo Hauser (screenplay), Martha Batalha (based on the book by: "A Vida Invisível de Eurídice Gusmão") Stars: Julia Stockler, Carol Duarte, Flávia Gusmão

[inveterade]

'A Vida Invisível' é indicado a melhor filme no Prêmio Platino de Cinema Ibero-Americano

‘A Vida Invisível’ é indicado a melhor filme no Prêmio Platino de Cinema Ibero-Americano

Foram anunciadas hoje as obras audiovisuais finalistas da sétima edição dos Prêmios Platino. Dentre os longas-metragens selecionados, A Vida Invisível, de Karim Aïnouz, concorre aos troféus de Melhor Filme, Melhor Atriz (Carol Duarte) e Melhor Roteiro (Murilo Hauser, com Inés Bortagaray e Karim Aïnouz).

Escolhidas por um júri internacional, as obras vencedoras serão conhecidas em cerimônia ainda…

[addictivecontradiction]

A vida invisível, 2019

[lucianocantanhede]

Performance em Aquilo que os Jovens Chamam de música - cap. II, A Queda do Céu - 2018.

Void e a Banzai Studio se jogam numa jornada sensível a diferentes frequências sonoras. O processo é documental, o filme ficcional. Reciprocamente mútuo e/ou vice-versa. Com direção de Fernando Nogari, o segundo episódio da série, A Queda do Céu, gruda numa galera que vem experimentando diferentes suportes para se expressar em Belém. Eles se tornam personagens de uma história narrada no futuro, passado e/ou presente. O filme transita por diferentes ambientes, deixando nebulosas as barreiras entre gêneros. Carimbó, eletro melody, som automotivo, guitarrada. Ritmos que influenciam e se relacionam com as vivências de contrastes e conflitos que caracterizam o universo que mergulhamos.

Ficha Técnica: Estrelando: Marcely Gomes / Labo Young / Pean Petra / Pnk sabbth / Lucas Mariano / Gabriela Luz / Thays Chaves / Akácio Amawáka / Luciano Cantanhede / Matheus Bricio

Direção: Fernando Nogari / Direção Criativa: Pedro Damasio, Pedro Perdigão / Direção de Fotografia: Fernando Nogari, Thales Banzai / Roteiro: Fernando Nogari, Lucas Mariano, Murilo Hauser / Assistente de Câmera-Logger: Igor Amaral / Pesquisa: Vladimir Cunha, Lucas Mariano, João Francisco Hein, Pedro Damasio / Entrevistas: João Francisco Hein, Pedro Damasio / Fotografia Still: João Francisco Hein, Pedro Damasio / Produção: Bruna Oliveira, Vanessa Almeida, Jac Niederberger / Produtor Local: Victor Kato / Som Direto: Lauro Lopes / Edição: Fernando Nogari / Cor: Marla Color Grading / Mixagem: Fabio Smeli / Voice Over: Zé Charone.

[hellosaltysaladcollectionstuff]

"Why don't you forget about that sister of yours?" Take a look at one of the award winners from the Cannes Film Festival this year. The Invisible Life of Eurídice Gusmão, originally A Vida Invisível de Eurídice Gusmão in Portuguese, is a Brazilian film made by filmmaker Karim Aïnouz (Madame Satã). This feminist drama set in Rio de Janeiro in the 1950s won the top prize in the Un Certain Regard category, meaning the jury voted it the best film from that section. The story follows two sisters, Euridice and Guida. They live at home, each with a dream: become a renowned pianist, or find true love. Because of their father, they are forced to live without each other. Separated, they will take control of their destiny, while never giving up on their hope of being reunited. Starring Fernanda Montenegro as Euridice, and Júlia Stockler as Guida, with Carol Duarte, Gregório Duvivier, Marcio Vito, and Bárbara Santos. In addition to the award, I've heard nothing but great things about this from everyone who saw it in Cannes. Keep an eye on this one.

Here's the festival trailer for Karim Aïnouz's The Invisible Life of Eurídice Gusmão, from YouTube:

Rio de Janeiro, 1940s, the life of Guida (Júlia Stockler) and Euridice Gusmão (Fernanda Montenegro), raised to be invisible in the eyes of the Brazilian society of that time, like all the other women of that generation. The Invisible Life of Eurídice Gusmão is directed by Brazilian filmmaker Karim Aïnouz, of the films Madame Satã, Love for Sale, O Abismo Prateado, I Travel Because I Have To, I Come Back Because I Love You, and O Sol na Cabeça previously. The screenplay is by Murilo Hauser, co-written by Inés Bortagaray & Karim Aïnouz; adapted from Martha Batalha's novel "A Vida Invisível de Eurídice Gusmão". This premiered at the Cannes Film Festival this month, where it won top prize in the Un Certain Regard section. The film is still seeking international distribution, so no release dates are set yet. First impression?

from FirstShowing.net http://bit.ly/30MgNen

[geekpopnews]

Ainda Estou Aqui leva prêmio de Melhor Roteiro no Festival de Veneza

Após ser ovacionado em sua estreia no Festival de Veneza, o filme brasileiro Ainda Estou Aqui venceu a categoria de Melhor Roteiro no evento. Com Fernanda Torres, Selton Mello e Fernanda Montengro, o filme está sendo aclamado pela crítica internacional.

Após ser ovacionado em sua estreia no Festival de Veneza, o filme brasileiro Ainda Estou Aqui venceu a categoria de Melhor Roteiro na premiação neste sábado (7). Com direção de Walter Salles (Central do Brasil) o longa é o primeiro filme Original Globoplay e tem roteiro de Murilo Hauser e Heitor Lorega. Estrelado por Fernanda Torres, a obra é uma adaptação do livro homônimo de Marcelo Rubens…

[artefeedme]

Mais novo filme de Karim Aïnouz, "O Marinheiro das Montanhas" entra na seleção oficial do Festival de Cannes O Marinheiro das Montanhas’ é um diário de viagem filmado na primeira ida de Karim à Argélia, país em que seu pai nasceu. Entre registros da viagem, filmagens caseiras, fotografias de família, arquivos históricos e trechos de super-8, o longa opera uma costura fina entre a história de amor dos pais do diretor, a Guerra de Independência Argelina, memórias de infância e os contrastes entre Cabília (região montanhosa no norte da Argelia) e Fortaleza, cidade natal de Karim e de sua mãe, Iracema. Passado, presente e futuro se entrelaçam em uma singular travessia. Roteiro Karim Ainouz Murilo Hauser Direção de fotografia Juan Sarmiento Produzido por Walter Salles João Moreira Salles Maria Carlota Bruno Produtores Associados Marie-Pierre Macia Claire Gadéa Karim Ainouz Christopher Zittebart Uma produção VIDEOFILMES Em coprodução com GLOBO FILMES e GLOBO NEWS Em associação com MPM Film / Watchmen / Cinema Inflámavel Distribuição GULLANE www.artefeed.art #teatro #musical #show #artistas #celebridades #dança #cinema #followus #artefeed #entrevistas #espetáculos #broadway #imprensa #artefeedoficial #entretenimento #divulgacao #brasil #humor #diversao #cultura #noticias #instagram #eventos #instagood #arte #love #comedia #lazer #festivaldecannes https://www.instagram.com/p/CPq65V9ng4G/?utm_medium=tumblr