Portugués | Subs: Castellano/English
63 min | XviD 640x480 | 1426 kb/s | 119 kb/s mp3 vbr | 23.97 fps
700 MB
700 MB
El ángel nació
Dos bandidos, Santamaria y Urtiga llegan a la ciudad de Rio de Janeiro
para cometer actos violentos. Santamaria, místico y visionario cree en
la próxima llegada de un ángel que purificará su alma. Urtiga, hombre
ingenuo, también cree en la llegada del ángel y sigue a su amigo
fielmente. Finalmente, después de innumerables peripecias, Santamaria -
que muere poco a poco con sus víctimas - comienza a identificarse con la
imagen de un ángel y a volverse loco. (FILMAFFINITY)
O anjo nasceu fue la película que catapultó a Júlio Bressane como
uno de los autores más creativos del cine brasileño. Filmada en 1969,
al mismo tiempo que Matou a Familia e Foi ao Cinema, la película - como si fuera un extracto
seminal - resume de manera metódica e iconoclasta la transgresión de
los valores dominantes.
La narración episódica sigue el desesperado camino de dos matones (uno
blanco, otro negro, en una película en blanco y negro) y sus crímenes
sin sentido. - Carlos Adriano BAFICI 15
The Angel was Born
Santamaria and Urtigo are two bandits on the run, one is white, the
other black. Santamaria is a mystical visionary and believes in the
imminent coming of a purifying angel. Urtiga, his inseparable companion,
is a simple-minded and ingenious man who follows Santamaria around and
participates in the crimes he commits. The two bandits take over a house
after kidnapping its owner and his girlfriend. The film's finale is
classic, with music by the singer Luis Gonzaga and the "endless" shot of
an empty road.
"When I made O Anjo Nasceu I thought I had made my most
difficult film, a completely irresponsible film, that space, that
vacuum, that nothing. It was a devastating experience for me, a shock.
Much, much more than Matou a Família e Foi ao Cinema, which was a
well-received film. I think O Anjo Nasceu is still unknown territory,
even for me" (J. Bressane)
DVD rip y capturas de cinegrafia
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64 min | XviD 640x480 | 1362 kb/s | 256 kb/s AC3 | 23.97 fps
746 MB
Mató a la familia y se fue al cine
El título de la película fue inspirado por los titulares de la prensa
sensacionalista y, desde el comienzo mismo, se vuelve literal: un joven
de clase media baja mata a sus padres y se va al cine... a ver Lost in
Love. De ahí en más se impone el cine-dentro-del-cine.
Killed the Family and Went to the Movies
This film caused controversy in 1969, not just for its content, but
above all for its daring and sparse approach to that content. Today, it
is regarded as a classic of Brazilian cinema. The title of the film was
inspired by the headlines of the 'gutter' or yellow press. Right from
the start the title is literal: a young, lower middle class man kills
his father and mother and goes to the movies... to see Lost in Love.
From then on the film-within-a-film takes over. Fiction and fact blend
into each other and it is no longer clear on what level of 'reality' -
or of the imaginary - we are existing. The film gets rid of the usual
parameters of representation and the stories overflow their boundaries,
that usually circumscribe action. In Lost in Love two upper-middle-class
girls hide away in a mansion in the hills. But there is also an affair
between two poor girls, there are two tormented young men of different
social standing, there are references to the political context of the
time. To make matters more uncertain, the same actors play different
characters. The actions of social violence correspond to acts of
violence against the syntax of the film itself: the discontinued and
fragmented development, the daring ellipses, the juxtaposition of
disconnected elements, the rupture of the sound space. Bressane works on
his dialectics of discomfort. Projected onto the screen is a true
'impression of reality' and a 'suspension of disbelief' in the cinema.
(Carlos Adriano)
DVD rip y capturas de cinegrafia
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