Movies

The film Central do Brasil (Central Station) was a landmark in Brazilian cinematography.  It was the first Brazilian production to win the Golden Bear for best film and the Silver Bear for Best Actress at the Berlin Film Festival. Central do Brasil, directed by Walter Salles Jr., from Rio de Janeiro, has been shown in almost 30 countries, has won 18 international awards and was nominated for an Oscar in the Best Foreign Film and Best Actress categories.

This golden phase of Brazilian Cinema reflects the ripening of the art in the country, where production has been growing progressively since 1995.  The distinguishing feature of this phase that joins quality and commercial appeal, is the film Carlota Joaquina – Princesa do Brazil, the full length feature film by the actress Carla Camurati, which brought  1.2 million viewers to the movies.

This whirlwind recaptures a past full of great and expressive productions, the highlight being Vidas Secas, by Nelson Pereira dos Santos, in 1963, which began the wave of Brazilian Film Production called New Cinema, something equivalent to the French Nouvelle Vague and Italian Neo Realism.

Still in the 60's, filmmaker Jose Mojica Marins created the character Ze do Caixao (Coffin Joe) in the film A Meia- Noite Levarei sua Alma, (At Midnight I'll Take Your Soul), which remains an international success until today.  In the 70's, with the country under a military regime, an underground film industry began, with the work of Ozualdo Candeias, A Margem, O Bandido da Luz Vermelha, by Rogerio Sganzerla, and Matou a Família e foi ao Cinema, by Julio Bressane.

The end of the 70's marked the end of censorship, and the return to national themes, with Bye Bye Brazil, from Caca Diegues, and P'ra Frente, Brasil, from Roberto Faria.  The real Brazil emerges on the screens with Eles Não Usam Black - Tie, in 1981, from Leon Hirszman, winner of the Golden Lion in Venice.  The international market absorvs movies such as Memórias do Cárcere, by Nelson Pereira dos Santos, Pixote and O Beijo da Mulher Aranha, both by Hector Babenco.  Parahyba Mulher Macho, by Tizuka Yamazaki, shows a piece of Brazilian history, and Eu Sei que Vou te Amar, from Arnaldo Jabor, focusses on urban loneliness.

In the beginning of the 90's, Brazilian Cinema suffered a profound crisis in losing official government support.  Only in 1993, with the creation of the Audiovisual Law did film production return.  Under the law, 120 films were made, representing an investment of around US$253 million  for the sector.

A close partnership of film and television produced films like  Veja esta Canção, by Caca Diegues.  In 1995, the new beginning of large scale productions inaugurated co-productions with other countries, resulting in films like Terra Estrangeira, by Walter Salles Jr., with Portugal, and Jenipapo , from Monique Gardenberg, with the United States.