Read Ebook {PDF EPUB} Abril despedaçado by Ismail Kadare Abril despedaçado by Ismail Kadare. Completing the CAPTCHA proves you are a human and gives you temporary access to the web property. What can I do to prevent this in the future? If you are on a personal connection, like at home, you can run an anti-virus scan on your device to make sure it is not infected with malware. If you are at an office or shared network, you can ask the network administrator to run a scan across the network looking for misconfigured or infected devices. Another way to prevent getting this page in the future is to use Privacy Pass. You may need to download version 2.0 now from the Chrome Web Store. Cloudflare Ray ID: 658d9ab61fe91669 • Your IP : 188.246.226.140 • Performance & security by Cloudflare. Abril despedaçado by Ismail Kadare. BEHIND THE SUN (Abril Despedaçado) (director/writer: Walter Salles; screenwriters: Karim Ainouz/Sérgio Machado/from the novel “Broken April”by Ismaïl Kadaré; cinematographer: Walter Carvalho; editor: Isabelle Rathery; music: Ed Cortês/Antonio Pinto/Beto Villares; cast: José Dumont (Father, Breves), Rodrigo Santoro (Tonho), Rita Assemany (Mother), Ravi Ramos Lacerda (Pacu), Luís Carlos Vasconcelos (Salustiano), Flavia Marco Antonio (Clara), Everaldo Pontes (Old Blind Man), Caio Junqueira (Inacio); Runtime: 93; MPAA Rating: PG-13; producer: Arthur Cohn; Miramax Films; 2001-Brazil / France / Switzerland) “A family blood feud between neighbors over land in the rural sugarcane fields of the Brazil of 1910.” Reviewed by Dennis Schwartz. The Brazilian Walter Salles’s fairy-tale-like story, a follow-up to Central Station (1998). It’s an unpleasant formal piece about the never ending circle of violence following a family blood feud between neighbors over land in the rural sugarcane fields of the Brazil of 1910. This beautifully filmed story is adapted from the novel by the Albanian Ismaïl Kadaré. The message of the parable is only a too obvious one, of how futile it is to keep seeking revenge and of the redeeming power of self-sacrificing love. The precocious 10-year-old Pacu (Lacerda), the teller of the story via flashback, is the little brother of Tonho (Santoro). The 20-year-old Tonho is ordered by his stern father (Dumont), the head of the Breves clan, to kill his neighbor’s son to avenge the death of Tonho’s older brother Inacio. There’s a truce for a month, but when the blood has turned yellow –which means the dried blood on his victim’s shirt turns yellow in the sun and the next full moon appears, the truce is over. This bloodshed is carried on by the patriarchs of both the Breves and Ferreira families in a ritualistic manner, as they feel to not take revenge would mean the loss of honor for their families. The cycle of revenge is followed by the rigid and stern father of Pacu without a thought that there could be any other alternative, so that he has not given his youngest son a name and is just called Kid. He receives the name Pacu from a visiting itinerant circus performer, Salustiano (Vasconcelos), who names him after a river fish. The shaggy looking circus performer’s traveling companion is the attractive Clara (Antonio), who is a fire-eater. She gives Pacu a book to read about mermaids, which the kid values very dearly as it opens up his imagination. After Tonho revenges his brother’s death, the old blind patriarch (Pontes) of the Ferreira clan orders a truce until the blood turns yellow. The handsome Tonho helps his hardworking mother (Assemany) and father just try to scrape by in their austere life. He helps cut down the sugar cane and process it for sale in town. But the town merchant tells them with the invention of the steam machine the price of sugar keeps falling and the old way of doing it by hand is about to become extinct. Ultimately, this is a film about letting go of the past wrongs and learning how to live in the modern world. Tonho’s sheltered life changes when he attends the circus and falls in love with Clara. It is this contact with the outside world that influences the brothers to see if they can get in step with the modern and changing world, and see if their family cycle of violence can end. The politically correct message was not enough of a reason for me to care much for this rather dullish arthouse pic. The harshness of the story is relieved only by the gorgeous photography of Walter Carvalho, and the attractiveness of Antonio (a real circus performer who is now studying acting) and the heartthrob Santoro. Behind the Sun. Brazilian badlands, April 1910. Tonho is ordered by his father to avenge the death of his older brother. The young man knows that if he commits this crime, his life will be divided in two: the twenty years he has already lived and the few days he has left to live, before the other family avenges their son's death. He is torn between fulfilling his ancestral duty and rebelling against it, urged by his younger brother Pacu. That's when a tiny travelling circus passes through the vast badlands where Tonho's family lives. Director. Writers. Editor. Cinematography. Art Direction. Set Decoration. Composers. Costumes. Make-Up. Studios. Countries. Language. Alternative Title. Genre. 105 mins More details at IMDb TMDb Report this film. Popular reviews. Brazilian director Walter Salles is probably best known for his internationally celebrated films Central Station and The Motorcycle Diaries, and perhaps to a lesser extent for his remake of the Japanese horror classic Dark Water (which I've seen and enjoyed for the most part) and the Jack Kerouac adaptation On the Road. His 2001 drama Behind the Sun seems to have faded from memory (at least in the US), despite receiving Golden Globe and BAFTA nominations for Best Foreign Language Film, as well as a nomination for the Venice Film Festival's Golden Lion. My point is that I'm not sure I would have heard of it were I not on a mission to watch as many films starring Rodrigo Santoro… A visual masterpiece. The story here is very simple. Two families historically quarrel over land to the point that eye for an eye becomes an ingrained ritual. The idiotic blindness of this ongoing situation (possibly expressed through the title) leads to the present day, with Brazilian stars Santoro and Maura the latest in a line of doomed men. The story is simple, and entrenched in an age-old universal tradition of misbehaving impassioned men dying young and the resilient women living on and bearing the emotional brunt of it all. Young blind men and poor old women. This is no country for old men. But it doesn't need to have a complex story. The scenario is brilliantly cinematic, and the film… he died for their sins. Em terra de cego, quem tem um olho, todo mundo acha que é doido! infelizmente sou obrigado a odiar Walter Salles pelo bilionarismo mas o cara sabe fazer filme né. Extremely overt about its visual cues, which partly explains the seeming lack of authenticity (being a movie about poverty from a multi-billionaire can't help as well), but still a potent social fable with memorable sequences. Rio de Janeiro-born writer-director Walter Salles brings us this adaptation of the 1978 novel "Broken April" by Albanian author Ismail Kadare, trading in the high plateaus of Eastern Europe for the badlands of Brazil's Northeast Region. The year is 1910 and a boy named Pacu (Ravi Ramos Lacerda) begins telling a story about himself, his brother and "a shirt in the wind." The brother is named Tonio (Rodrigo Santoro) and he works milling sugar cane with his parents, Mr. and Mrs. Breves (José Dumont & Rita Assemany), and two oxen in a desolate place called Stream-of-Souls. The shirt, we learn, was a bloodstained reminder of Pacu's eldest brother Inácio (Caio Junqueira), who was shot… Nice dramatic movie about Nordeste family vengeance. Also I got to know how it was made and what it is rapadura. a prisão da tradição. "Abril Despedaçado" estabelece uma sólida relação com os movimentos filmados. Reparem como o movimento circular realizado pelos bois representa o ciclo vicioso que permeia a vida daqueles sertanejos. Desde a árdua rotina de trabalho até a violenta tradição das duas famílias rivais, tudo está, semioticamente, relacionado ao fluxo daqueles bovinos. Notem, também, como o balanço amarrado na árvore recebe atenção especial das lentes. Além de representar a infância oprimida, mas que ainda existente no interior daqueles personagens. O movimento de impulsão e decolagem, típico do "brinquedo", simboliza a buscar por elevação e ascensão. Ainda no mérito dos movimentos, a sequência em que Tonho persegue um membro da família rival é maravilhosa. Por fim, o mar surge como instrumento de libertação dessa cinesia viciosa. Set in the early 1900's, an ongoing blood feud about plantation land between two families is questioned by Tonio(Rodrigo Santoro). When ordered by his father, Tonio sets out to kill the man who killed his brother. After he murders the man, he gets a month truce before he is going to be killed himself. This mutual killing spree is eventually going to eradicate the two clans unless something stops it. The movie is beautifullt shot. Originally an adaptation of an Albanian novel, but director Walter Sallis(Central do Brasil) captures the rural drought- plagued landscape of the North East-region of Brazil really good, and it works just as well set in South America as it would on Balcan.