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Entangling Shadows

Documentary that celebrates 100 years of cinema in Latin America and talks about the origins and the development of cinema in this subcontinent. Its structure is based in 12 short films directed by various Latin American directors. These are: 1) "Los inicios", Iván Trujillo 2) "Cuando comenzamos a hablar", María Novaro 3) "Jugando en serio", Jacobo Morales 4) "De cuerpo presente [Las espirales perpetuas del placer y el poder] Cine Mexicano [1931- 1997]", Marcela Fernández Violante 5) "Cuando quisimos ser adultos", Edmundo Aray and David Rodríguez 6) "Cinema Novo", Orlando Senna 7) "Memorias de una isla, Juan Carlos Tabío 8) "Un grito, 24 cuadros por segundo", Julio García-Espinosa 9) "El día de la independencia", Federico García 10) "¿Sólo las formas permanecen?", Fernando Birri and Pablo Rodríguez Gauregui 11) "Todo final es un principio", Andrés Marriquín.

Entangling Shadows

5.8 1998
Bloody Hands

Maos Sangrentas translates to Bloody Hands in English, and that's just what this gruesome Brazilian melodrama delivers. The story begins when a gang of dangerous convicts escape from a penal colony. With the police in hot pursuit, the escapees cut a gory swath through the countryside. As his comrades are killed off one by one, the leader of the group descends into gibbering madness. In contrast to this, a subplot develops involving the least dangerous of the escapees, who murdered his wife in a peak of self-righteous rage and is now seriously in doubt about the wisdom of his deed. Principal scenes reworked in 1962 to make the film The Violent and the Damned (q.v.).

Bloody Hands

7.5 1955
Sound Letter

Sound Letter is an experimental documentary that investigates the sensory identity of the city of São Paulo. Far from following a conventional linear narrative, the film proposes a kind of sonic correspondence in search of the hidden music of the metropolis. Through the perspectives of Arthur Nestrovski and Eduardo Santos Mendes, the work explores the idea that inhabiting the city means superimposing distinct times, where the contemporary noise of traffic and urban chaos coexist with echoes of centuries-old traditions, such as old street vendors' cries. The medium-length film challenges the traditional documentary form by privileging the sound element as the protagonist and openly presenting its own recording apparatus, transforming the journey of a motorcycle courier into a true ballet of forms and sounds that translate the complexity and vibrancy of the São Paulo capital.

Sound Letter

7.0 2009