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Central Station Walter Sallas Central Station Walter Sallas Supported by The Brazilian Embassy Dublin study guide by Rachel Thunder Central Station (Central Do Brasil) Director Walter Salles Producer Arthur Cohn Martine de Clememt-Tonnerre Screenplay Marcos Berstein Joao Emanuel Carneiro based on an idea by Walter Salles Cast Fernanda Montenegro Dora Marilla Pera Irene Vinicius de Oliveira Josue Soia Lira Ana Othon Bastos Cesar Otavio Augusto Pedrao Stela Freitas Yolanda Matheus Nachtergaele Isaias Caio Junqueira Moises Crew Cinematographer Walter Carvalho Music Jaques Morelembaum Antonio Pinto Editors Felipe Lacerda Isabelle Rathery Production Designers Cassio Amarante Carla Caffe Fresh Film Festival 2001 Introduction At the 1996 Sundance Film Festival a special award was presented to celebrate the 100th birthday of cinema: the “Cinema 100 – Sundance International Award”. An international jury considered over 2000 filmmakers and their proj- ects for the award. Five film directors would be chosen who, according to Sundance, “best represented the next generation of creative talent in their coun- tries and around the world“. Walter Salles and his project Central Station won the “Cinema 100 – Sundance International Award” for Latin America. The film centres on the relationship between Dora, an ex-school teacher, who writes letters for the poor and illiterate who inhabit the world of the Central Railway Station in Rio De Janeiro in Brazil. One letter is written for a mother and her child, who are attempting to make contact with the boys’ father. With the death of the mother, Dora is compromised into undertaking a journey, into the interior of the country, to re-unite the boy with his father. This journey affects them both, irrevocably. Initially working as a documentary maker, Salles made his debut feature film in 1991. Thematically, the search for identity is crucial to all his work. Using the vast social and technological changes Brazil has underwent in the recent past as his canvas, Salles work chronicles the damage inflicted on the lives of the ordi- nary people who are swept along in the midst of a tide of overwhelming change. 1 Central Station aka Central Do Brasil dir. Walter Salles 1998, Brazil, 106 mins Central Station (Walter Sallas) Walter Salles Biography Walter Salles made his directing debut filming documentaries about the writer Jorge Luis Borges, the painter Marc Chagall, and the film directors John Huston and Frederico Fellini. His work, both as a documentary and fiction filmmaker focuses on the theme of exile, displacement, and the search for identity. In 1991 he made his first full-length feature film ‘High Art’. His second feature film ‘Foreign Land’ (1995, co-directed by Daniela Thomas), played an important part in the rebirth of Brazilian cinema. ‘Foreign Land’ won seven international prizes and was selected for screening by over thirty film festivals. In 1996 it was named Best Film Of The Year in Brazil, where it played in cinemas for over six months. It received high praise when it was screened in the U.S. in 1997. Salles’ documentaries include ‘Life Somewhere Else’, and ‘Krajcberg, The Poet of the Remains’. Both have won awards at a number of international film festi- vals, including the Fipa D’or at the Festival International des Programmes Audio- Visuels, and the Best Documentary and the Public’s Prize at the Festival dei Popoli in Italy. Previous to this he made a five hour documentary about the conflict between modernity and tradition in Japan. He has also made a series of documen- taries about Brazilian painters and sculptors and the history of Brazilian music. Since completing ‘Central Station’, Salles has directed ‘Midnight’ (again with 2 Daniela Thomas), a short film for the series ‘2000 Seen by…’ for the French- German television station Arte and a documentary called ‘Short Lives’ about chil- dren who enter the drug-dealing networks in the slums of Rio. Fresh Film Festival 2001 Watching The Film The Story Dora (Fernando Montenegro), a retired schoolteacher, makes a living writing let- ters for the illiterate people who pass through Rio de Janeiro’s main train station, Central station. Each day they commute to the city from the impoverished sub- urbs and hope that through these letters they will contact lost family members, reach lovers, and relate the hardships of their lives. Charging a dollar per letter, Dora promises to post them if they pay an extra dollar. Among her clients are Ana (Soia Lira) and her nine year old son Josué (Vinicius de Oliveira), who is longing to meet his father for the first time. Dora has become indifferent to her customers and takes very little interest in the trust they place in her. Instead she plays God and decides whether to post their letters or not. Each evening, in her apartment in the suburbs, Dora along with her neighbour and friend Irene (Marilia Pera), recites the letters she has written that day. Those which she considers important are mailed, but the large majority are simply thrown in the bin. If Dora and Irene disagree about a particular letter it is put in a drawer to be dealt with on another occasion. This is what happens with Ana and Josué’s letter. Life alters dramatically for Dora next day. Ana and Josué return to Central station and after Ana has dictated a second letter to Josué’s father she is hit by a 3 bus and dies. Josué, now homeless and alone, wanders aimlessly around the sta- tion for a few days until Dora finally decides to approach him. Her motives appear mixed. Initially she seems concerned and willing to help but after a difficult night in her apartment where Josué discovers the letter to his father, she decides to sell him to a dubious adoption agency. Her delight in her newfound spoils is evident in the purchase of a brand new television with remote control. However after being reproached by Irene, who warns her of Josué’s fate in the hands of the adoption agency, she steals him back and, now on the run, decides to acccompany him on his journey to find his father in Brazil’s remote Northeast. For Dora and Josué this is a journey both physically and spiritually into unknown territory, and one which will change their lives dramatically. Central Station (Walter Sallas) Historical Context “Few countries have suffered as many traumatic changes in the last thirty years as Brazil. A late industrialization created a huge wave of internal migration that, in turn, brought chaos to the cities, unprepared to acccomodate so many new arrivals. The absence of land reform and succcesive droughts in the northern states led to a continuous exodus to the south of the country. In the 1970’s, millions of migrants from the northeast abandoned their homes, families and cultural traditions, attracted by the illusion of an economic miracle announced by the military government. But promises were unfillfilled, unemployment rates soared and so did violence in the overpopulated Brazilian cities of the south. In the beginning of the 90’s, the country plunged even further into a state of chaos. After recently-elected president Collor announced an outrageous new plan to restructure the ecconomy, more than 800,000 young Brazilians opted for exile, in search of the opportunity denied them in their homeland. For the first time since its discovery 500 years ago, Brazil became a country of emigration. A few years have passed. We are now on the verge of a new century, and some- how, the country has matured. We know that the economic miracle that would immediately solve all our structural problems was a fallacy. We know that mass exile is not a possible solution. We are finally confronted with ourselves, with 4 what we really are, so distant from the image created by official statistics and by national television, entities that have both been so efficient in controlling and defining Brazil’s recent past” Walter Salles on Brazil Fresh Film Festival 2001 Looking at the Film The director comments on the film “Today, an important quest is surfacing: the desire to find another country, one that may be simpler and less glorious than previously announced, but aims to be more compassionate and human. A country where the possibility of a certain innocence still remains. This latent desire to rediscover a country, to redefine ourselves, coincides with the rebirth of Brazilian cinema, with the necessity to continue a cinematic tradi- tion that was brutally interrupted for political and economic reasons – perhaps because it depicted faithfully what took place in Brazil, in contrast to what was shown on television. ‘Central Station’ aims to talk about this country searching for its own roots. This is a film about a boy wanting to find his own identity (Josué), but is also about people striving to maintain a contact with their past (the illiterate migrants who dictate letters to Dora).” Discussion (1) Salles, in utilising a single storyline, set in the context of a whole country, attempts to tell that country’s story in his film. Do you think he achieves this? (2) Is the single storyline, that Salles uses, enough to give us a full picture of the 5 social change within the country as a whole? Is a single storyline an effective way of communicating the recent history of Brazil? (3) What images or story elements in the film most refer to the country as a whole? (4) If, as one critic suggests, Josué ‘represents Brazil’s future’, what does the char- acter of Dora represent? At the end of the film, do you think the future of Josué (and Brazil) is an optimistic one? Central Station (Walter Sallas) The Making of Central Station According to the director Walter Salles the films core idea came about as a result of a documentary he directed called ‘Life Somewhere Else’ (Socorro Nobre), based on the written correspondance between a half-literate prisoner and an eld- erly sculptor named Franz Krajcberg.
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