‘Passage to Mars’: Film Review

Nobody gets to the crimson planet in Passage to Mars, or even tries to. Rather, the topics of Jean-Christophe Jeauffre’s grandiose documentary are on a grueling trek via the Arctic, driving an experimental rover to Devon Island, a research website for potential Mars missions of the longer term. But that doesn’t maintain team chief Pascal Lee from feeling like he is an integral part of humanity’s big interplanetary leap, and this enticing film plays along, hiring Zachary Quinto to learn Lee’s journals with much more drama than he’d convey to a captain’s log if Spock subbed for Kirk within the subsequent Star Trek journey. Quinto and an Elon Musk-fueled resurgence of interest in Mars could attract some consideration here, however this can be a minor (if death-defying) chapter in the ongoing story that has meager box-workplace prospects.

Lee leads a six-man group (two of whom are filmmakers) which hopes to drive the Okarian — a modified Humvee with tank-like treads — throughout the Northwest Passage to Devon Island before the winter sea ice melts. At Devon, the Okarian might be put by its paces in a vast, uninhabited desert terrain the Mars Institute makes use of to prep for lengthy-term planetary exploration. But the challenges of this particular voyage — snowstorms, unseen obstacles, cracks within the ice — resemble those confronted by Earthbound explorers like Ernest Shackleton greater than what tomorrow’s astronauts will encounter.

Jeauffre cuts lots of NASA-sourced Mars imagery into this icy story, drawing parallels between Arctic dangers and the sandstorms and isolation provided on that planet. Throughout, Quinto reads from Lee’s journals, which alternate between musing on the likelihood that Mars missions will discover life (or proof of earlier life) and chronicling extra pressing considerations: the truck tread that blows apart en route, as an illustration; the failing alternator; and the dangerous choice to separate the staff up in the hunt for crucial supplies.

Any of the above might conceivably get the explorers killed, but hazard doesn’t fairly translate into sustained drama right here, in part as a result of the reliance on voiceover distances us from the action. The doc’s eagerness to unfold the glory around, treating a years-in-advance little bit of analysis as if it were nearly the principle occasion, will endear it to some Earthlings who yearn for the stars. But it additionally faces the chance of burning by means of moviegoers’ enthusiasm before there’s an precise mission to support.

Distributor: Sundance Selects Production company: Jules Verne Adventures Director-editor: Jean-Christophe Jeauffre Screenwriters: Jean-Christophe Jeauffre, Pascal Lee Producers: Jean-Christophe Jeauffre, Frederic Dieudonne Director of pictures: Mark Carroll Composer: Steffen Schmidt

Not rated, 95 minutes

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‘Mother’ (‘Ema’): Film Review

The young Estonian director Kadri Kousaar seemed poised for excellent issues when her prize-successful debut Magnus (2007) turned her small Baltic homeland’s first-ever Cannes choice. Her second function, The Arbiter (2103), was one thing of an overambitious misfire. But her third makes good on her early promise, and has been nominated as Estonia’s official Oscar contender.

Mother is a crisp, sardonic, darkly humorous mystery thriller with a claustrophobic really feel that occasionally betrays its roots as an Irish radio drama. But it interprets nicely to the display, with vaguely Nordic Noir undertones that will have apparent pageant attraction and modest theatrical potential, especially if it makes the Academy shortlist.

In her first headline position, Tiina Malberg displays her wealthy range of hangdog expressions as Elsa, a middle-aged housewife and self-sacrificing mother living a lifetime of quiet desperation in a small Estonian city. A digital prisoner in her cramped suburban home, Elsa is a fastidious domestic drudge to her emotionally indifferent husband Arvo (Andres Tabun) and 24-hour caregiver to her adult son Lauri (Siim Maaten), a former schoolteacher who now lies in an extended-term coma following a mysterious gun attack. The sole glimmer of passion in Elsa’s drab daily routine is her clandestine affair with Lauri’s co-worker Aarne (Andres Noormets), though their liaisons are fraught and fleeting.

Nobody is aware of why Lauri was shot, but the whole town is raring to seek out out, especially as he withdrew a large sum of money from the financial institution shortly earlier than the attack. His anxious pal Andres (Jaak Prints) can barely contain his anger, as he was relying on a loan to help salvage his failing business and ailing marriage. Girlfriend Liina (Katrin Kalma) tearfully confesses her infidelity to Lauri, then discreetly searches his bed room for the missing money as she wants the down payment on a brand new house. Mentally unbalanced ex-lover Riin (Rea Lest) seems the most affected by Lauri’s terrible destiny, providing him some powerful-love options: What can I do for you? Put a pillow in your face?”

Unfolding at a brisk pace, Mother is structured as an episodic collection of home visits to the comatose Lauri, and largely played for deadpan comedy with tragic, flippantly noir-ish touches that darken as the plot thickens. Koussar and her cinematographer Jean-Noel Mustonen use extensive hand-held and close-up photographs so as to add textural variety to the restrictive setting, which principally takes place inside Elsa’s humble dwelling. Jaan Pehk’s spare, discordant rating amplifies the unease with out veering into gothic melodrama.

Only within the remaining act does Kousaar break up the movie’s linear chronology, using temporary flashbacks to finally unlock the mystery and expose the secrets and techniques of her nervy, haunted protagonists. The shock twist arrives with a bitter sting, assuming you do not see it coming. But even when you do, the sour payoff still bites deeper than a normal suspense thriller, throwing new mild on the unspoken power dynamics seething away below the placid surface of tight-lipped households and small communities. Mother is a slender chamber drama from a tiny Baltic state, nevertheless it packs a satisfying universal punch.

Production company: Meteoriit OU Cast: Tiina Malberg, Andres Tabun, Andres Noormets, Siim Maaten, Jaan Pehk, Jaak Prints, Rea Lest, Katrin Kalma Director: Kadri Kousaar Screenwriters: Leana Jalukse, Al Wallcat, inspired by the radio drama Coma by Kevin McCann Producer: Aet Laigu Cinematographer: Jean-Noel Mustonen Editor: Tambet Tasuja Music: Jaan Pehk Sales: The Film Sales Company, New York

Not rated, 89 minutes

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’13th’: NYFF Review

Talk about timing. Drilling deep into societal ills that, unfortunately, are seldom off the front page these days, Ava DuVernay’s 13th takes a comprehensive historical look at the numerous ways the African-American population has continued to be subjugated, marginalized, penalized, punished, victimized and incarcerated over the century and a half because the thirteenth amendment abolished slavery.

Composed but intense, measured yet impassioned, analytical but deeply emotional, this eloquently articulated testimony as to how far the nation stays from true racial equality can be a should-see for the socially engaged public, will spur numerous reflections within the media and might be extensively watched upon its simultaneous premieres beginning Oct. 7 on Netflix and in limited theatrical engagements. This is the first documentary to ever serve as the opening-night time attraction at the New York Film Festival.

Enacted on Jan. 31, 1865, the thirteenth modification addressed the young nation’s authentic sin” by outlawing involuntary servitude, but with one exception — as a punishment for crime whereof the celebration shall have been duly convicted.” Southern gentry shortly found ways across the prohibition of its peculiar establishment,” making would-be offenses corresponding to loitering” and vagrancy” punishable crimes (though the movie does not examine other subsequent policies, including Black Codes” and peonage, which pushed penniless freed slaves into onerous contracts and loans that put them in perpetual debt).

An illustrious cast of eminent scholars, historians, activists and politicians knowledgeably expounds upon the historic issues and movements, each huge and minute, that left Southern blacks with little probability of improving their lot in life; the laws and terminology might have changed, however attitudes and social practices hardly at all. The resurgence of the lengthy dormant Ku Klux Klan is shown to have been the direct result of its heroic portrayal in D.W. Griffith’s 1915 blockbuster The Birth of a Nation, as was the racist group’s heretofore unknown follow of burning crosses. (The film does not observe, nonetheless, that cross burning was an invention not of Griffith however of Thomas Dixon, Jr., the creator of the 1905 novel The Clansman, on which the film was primarily based; he took it from something Scottish clansmen did centuries earlier.)

Newsreel footage of a large number of Klan members — and no black delegates — participating within the 1924 National Democratic Convention is stunning to behold. The film might need taken a second to point out that President Theodore Roosevelt’s appointment of many blacks, for the primary time, to federal government jobs was summarily reversed by Southern Democrat Woodrow Wilson within a month of his taking workplace.

In her first film since breaking by means of with Selma two years ago, and in league with co-writer, producer and editor Spencer Averick, DuVernay leaves such fascinating related issues to the facet so as to by no means lose sight of her central premise, that the bedrock social problem for the American black inhabitants — and arguably for the nation as an entire — since the Civil War has been the perpetuation of a myth of black criminality,” because it’s put by African-American studies scholar Jelani Cobb. In reaction to white social, physical and sexual fears came entrenched segregation, voting restrictions, extremely prohibitive Jim Crow legal guidelines within the South and other nationwide social norms” too quite a few to listing, from segregated colleges to the absence of blacks within the FBI and on professional sports activities teams.

But it was through the civil rights movement that issues started boiling over in methods not possible to ignore. Devastating footage reminds us of how the murderers of 15-yr-outdated Emmett Till escaped justice, the best way Southern cops, specifically, savagely beat protestors on the streets, how spies and informers heavily infiltrated the internal circles of Malcolm X and how authorities obsessed over the Black Panthers as a huge threat to nationwide order. In an archival interview, Nixon aide John Ehrlichman explicitly articulates how the law and order” president identified his two important domestic enemy targets as being the anti-conflict left and blacks, whereas on the similar time convincing socially conservative Southerners that their correct political residence was with him and no longer with the Democrats, thereby radically altering the political map to this present day.

DuVernay’s dedication never to stray removed from the criminalization problem actually pays off in the second half, when her consideration turns to the massive rise of the prison inhabitants, blacks’ hugely disproportionate place in it, the next corporatization of the detention course of and the militarization of legislation enforcement. As a part of the film’s critique of Reagan’s conflict on drugs and Just Say No” advocacy, none aside from Newt Gingrich blasts the fact that jail sentences associated to crack cocaine, seen as a black” drug and the explanation for so much crime within the interior cities, have been so severe compared to the slaps on the wrists for customers of powdered coke, a so-known as white” high of choice.

But worse, within the film’s view, was the large 1994 federal crime invoice enthusiastically pushed by Bill Clinton, who was so usually kiddingly referred to on the time as the first black president.” With this got here the three-strikes rule, necessary minimal sentencing, diminished probabilities for parole and a virtual doubling of the federal prison inhabitants between 1990 and 2000. Clinton is later seen regretting this, but the best way was now paved for the birth of the Prison Industrial Complex,” a system of incarceration as a commercial enterprise which not solely assumes but calls for an ever-rising prison inhabitants to boost the bottom line.

But the real backside line, as the doc persistently publicizes, is the scale of the U.S. jail population and blacks’ wildly disproportionate illustration within it. Among the key statistics underlined: In 1972, the U.S. jail inhabitants was 200,000, and now it is 2.3 million; black men make up 6.5 percent of the U.S. inhabitants, but 40.2 % of the jail population; and one in three black men can count on to go to prison of their lifetimes.”

Providing startling exclamation factors are the claim that a staggering 97 percent of all inmates are incarcerated as a result of plea bargains, which means they by no means went to trial, and a climactic assemblage of videos picturing police shootings of detainees (all included, it’s noted, with family permission”).

There are so many angles on this vast subject, and so many historical, cultural and authorized details that the film, by necessity, had to pass over, that at the least a 10-hour documentary miniseries may have been warranted to encompass all of it. Any historian, journalist, politician, activist, choose, legal professional, legislation enforcement officer and, for that matter, criminal worth his or her salt would have something to say about all the information, figures and viewpoints laid out here. To say 13th is stimulating and thought-provoking is the understatement of the yr.

But two issues in particular work overwhelmingly in the film’s favor. One is its tone of poised urgency; all 38 of the interviewed commentators communicate in measured, articulate tones with out advocating burning the house down, yet they collectively convey a certainty that one thing could be very mistaken and that immediate actions should be taken to right the ship. The different is its upkeep of focus; no matter how many fascinating journeys down facet roads of historical past might have beckoned, DuVernay and Averick never stray far from the itinerary they clearly set for themselves, which was to illuminate the distance the nation nonetheless remains from its splendid of equality for all.

Venue: New York Film Festival (opening evening) Opens: Oct. 7 (Netflix) Production firm: Kandoo Films Director: Ava DuVernay Writers: Ava DuVernay, Spencer Averick With: Melina Abdullah, Michelle Alexander, Corey Booker, Dolores Canales, Gina Clayton, Jelani Cobb, Malkia Cyril, Angela Davis, Craig Deroche, David Dinkins, Baz Dreisinger, Kevin Gannon, Henry Louis Gates, Marie Gottschalk, Newt Gingrich, Lisa Graves, Cory Greene, John Hagan, Michael Hough, Van Jones, David Keene, James Kilgore, Glenn F. Martin, Marc Mauer, Khalil G. Muhammad, Pat Nolan, Grover Norquist, Dorsey Nunn, Liza Jessie Peterson, Charles B. Rangel, Kyung-Ji Kate, Rhee Shaka Senghor, Bob Sloan, Deborah Peterson Small, Bryan Stevenson, Ken Thompson, Nicholas Turner, Daniel Wagner Producers: Howard Barish, Ava DuVernay, Spencer Averick Directors of images: Hans Charles, Kira Kelly Editor: Spencer Averick Music: Jason Moran

Not rated, a hundred minutes

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‘Flock of Dudes’: Film Review

One of those not-uncommon-enough limp comedies that leaves viewers questioning who managed to spherical up a lot underexploited talent, Bob Castrone’s Flock of Dudes revolves round a crew of greatest-pal underachievers so bad for each other they’ve to interrupt up to be able to get their lives began. Chris D’Elia stars, however when this pic makes its swift transit from theaters to digital providers, it will be supporting players — from Marc Maron to New Girl‘s Hannah Simone — who earn the most clicks from soon-to-be-disenchanted sofa potatoes.

Viewers who sustain with contemporary comedy shall be puzzled from the start, as Castrone gathers a number of the weirder abilities on the market — like Eric Andre and Brett Gelman — only to have them play generically stupid bros who can “whooo!” with the worst of them. (Both have done this kind of thing paradoxically before; but if there was any meta-boorishness in these performances, it was edited out.) Three of these dudes stay with D’Elia’s Adam in a home you can smell from the tenth row, taunting their more grown-up buddies about getting married or holding straight jobs.

In a drunken second of clarity, having misplaced one girlfriend and realizing he has no chance with the co-employee (Simone’s Beth) he goals of, Adam declares that he is executed along with his buds. In the haze of the following morning’s hangover, his straight-arrow kid brother David (Skylar Astin) makes it formal: He has drawn up contracts spelling out the dire penalties the boys will face (oh my god, don’t take away our fantasy soccer league!) in the event that they make contact with each other during the subsequent six months.

They do, after all, and the film milks about as much comedian rigidity out of their contract violations as this sentence does. On the one hand, going their separate ways means the extra charismatic core castmembers can exhibit a little bit of character. Unfortunately, they’re all stuck within the margins while D’Elia tries to turn his character, who has more problem discovering himself than they do, right into a hero worth rooting for. Meanwhile, comedians Kumail Nanjiani and Hannibal Buress are so wasted that their presence feels like a taunt to their many fans.

Production firm: Kilburn Media

Distributor: Starz

Cast: Chris D’Elia, Hannah Simone, Skylar Astin, Bryan Greenberg, Brett Gelman, Eric Andre

Director: Bob Castrone

Screenwriters: Bob Castrone, Brian Levin, Jason Zumwalt

Producers: Aaron Kaufman, Brian Levin, Mark C. Manuel, Ted O’Neal

Executive producers: Yoram Barzilai, Erin Fredman, Adam Herz, Gregory Lessans, Itay Reiss, Josh Shader

Director of images: Yaron Levy

Production designer: Joshua Stricklin

Costume designer: Paula Tabalipa

Editors: Lawrence Jordan, Alastair Orr

Composer: Jonathan Zalben

Casting director: Emily Bates

100 minutes

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‘Generation Startup’: Film Review

Beginning with the stunning assertion that “entrepreneurship amongst 18-30 year-olds is at a 24-year low,” Generation Startup focuses on the efforts of a half-dozen youngsters to buck that pattern in a city that wants all the beginning-up it may get: Detroit. Beginning their 17-month observation on the ground but relying more and more on self-shot video diaries because the doc goes on, administrators Cynthia Wade and Cheryl Miller Houser supply a movie that usually feels like actuality TV. Still, on TV Startup will communicate to many young viewers who are struggling to figure out not simply where to make their skills helpful in the world, but what those talents are in the first place.

The film’s topics are participants in Venture for America, a non-revenue that locations latest college grads in jobs at startups around the country. Wade and Houser discover six of those youths in Detroit, the place their jobs entail every thing from clearing particles out of abandoned houses to serving to direct grant cash to local do-gooder organizations. Some are stereotypical self-beginning hustlers, some appear just to have grown accustomed to attaining in school and determined this was a logical subsequent step.

Most soon have doubts about their selections, given the long hours and unsure rewards of startup tradition. One recent recruit, working for an alum of the VfA program, thinks he has signed on with a positive thing, only to see the enterprise — Banza, a food company making a gluten-free pasta substitute from chickpeas — threaten to collapse when its first industrial batches turn to unappetizing gruel. Another finds her calling not within the company that employed her, however as a matchmaker between younger ladies and the established female professionals keen to mentor them.

Inevitably, some will wind up feeling exploited. One is the primary employee of an outsourcing firm, and quickly finds himself overseeing telephone manufacturing at 4 Chinese factories. He seems to be indispensable, however when the company expands, his place in it does not.

There’s sufficient selection in the office settings right here to keep us involved, however the doc’s chronology is not the smoothest: We make a giant leap or two in time, and should piece together the major developments that occurred whereas we weren’t watching. It’s as if the filmmakers set up their storylines and waited till a point at which life kind of lived as much as the optimism they meant to ship. The success rate here might not mirror the ratio within the general startup world. But how are you going to get promising youngsters to start businesses if you happen to simply present them failure?

Distributor: Long Shot Factory Production firm: Creative Breed Directors: Cynthia Wade, Cheryl Miller Houser Producers: Cheryl Miller Houser, Brian P. Egan Executive producers: Susan Margolin, Lauren Zalaznick Director of photography: Boaz Freund Editor: Kimberly Pellnat Composer: Eric V. Hachikian

Not rated, 92 minutes

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‘ClownTown’: Film Review

If there weren’t already lots sufficient causes to hate clowns, you’ll be able to add the horror film ClownTown to the checklist. Tom Nagel’s low-price range debut function is inspired by the premise that folks wearing clown costumes are inherently creepy, which isn’t exactly a novel display screen concept.

The movie a minimum of has the courage of its derivative and exploitive convictions, as demonstrated by its prologue by which a comely younger lady is shown topless and the primary homicide occurs even earlier than the opening credits. The victim is a babysitter, naturally, and the section has only a tenuous connection to the remainder of the story. But hey, not less than the teenage male target audience gets to see some bare breasts, proper?

We’re then introduced to a generic quartet of twentysomethings — for the file, they’re played by Brian Nagel, Lauren Elise, Andrew Staton and Katie Keene — driving through Ohio on their technique to a live performance when considered one of them leaves her cellphone at a roadside diner. Upon discovering it lacking, they call the telephone, and the person who answers instructs them to head to Clinton, a nearby small town the place he’ll meet them.

(Let’s assume it’s a coincidence that the Ohio city in question is called for the presidential candidate who’s currently not doing very well within the state, if only because it would show a cheeky imagination that the rest of the misbegotten film sorely lacks).

Anyway, the group heads to the city, which has apparently been deserted since a catastrophic train accident years earlier. Deserted, that is, apart from a bunch of homicidal maniacs wearing otherwise styled clown costumes and makeup. All of them are silent apart from the chatty, sole female in the bunch. During the ensuing cat-and-mouse game, the would-be victims meet two older residents who present the uninteresting backstory about what’s going on.

It’s all as generic and pointless because it sounds, with tyro filmmaker Nagel unable to muster up the form of visceral thrills that a John Carpenter or Wes Craven would have been in a position to ship of their sleep. Judging by the variety of Nagels listed within the movie’s credits, ClownTown would seem to be some type of household undertaking. A journey to Disneyland’s Haunted Mansion would have been a better choice.

Distribution: ITN Distribution Production companies: Millman Productions, Steel House Productions, Zorya Films Cast: Brian Nagel, Lauren Elise, Andrew Staton, Katie Keene, Jeff Denton Director-editor: Tom Nagel Screenwriter: Jeff Miller Producers: Jeff Miller, Tom Nagel, Brian Nagel, Christopher Lawrence Chapman Executive producers: Jeff Miller, Christopher Lawrence Chapman, Ronnie D. Lee, Brian Nagel Director of images: Ken Stachnik Production designer: Ryan Pilz Composer: Holly Amber Church Casting: Mark Sikes

Not rated, 86 minutes

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‘The Cambridge Squatter’ (‘Era o Hotel Cambridge’): Film Review | San Sebastian 2016

The Cambridge Squatter does a really difficult factor: It takes what essentially is a neighborhood interest story and elevates it into something universal and urgently up to date. The local-interest story is that of homeless people in Sao Paolo in Brazil who occupied the titular hotel, however while you mix them up with a few refugees, then you’ve gotten a story about homelessness in the larger sense of the phrase, and it is between these two meanings that fourth-time director Eliane Caffe intelligently shuttles in a politically charged film whose warmth, vibrancy and good intentions outshine its flaws.

Cambridge Squatter was a winner of a San Sebastian Films in Construction award in 2015 and, now complete, deserves to meet its promise on the pageant circuit. Releases in Brazil and Spain have already been scheduled.

Rather unpromisingly, early scenes present immense glass and concrete facades of abandoned buildings in Sao Paolo, of which there are apparently many, however the place it’s illegal to squat regardless of town’s homeless drawback. The immense former Hotel Cambridge is occupied by dozens of homeless individuals, a multicultural number of human fauna, with the movie focusing on the tales of a just a few. These embody Hassam, a leathery-confronted, hard-smoking and terminally charismatic Palestinian refugee who recites poetry of breathtaking energy and wonder, residing together with his nephew Kalil, who does not speak a phrase of Portuguese, and Ngandu, in exile from the Congo for presumably political reasons, we infer, involving the commerce in blood minerals equivalent to coltan, used within the manufacture of cellphones.

While the non-Brazilians are non-actors, among the Brazilian residents are played by promenade actors. They include the picturesque, charismatic Apolo (Jose Dumont, a daily of Caffe’s films), who delivers some of its most deliciously surreal traces of dialogue and who is establishing a theater group whose work will be shown on the weblog the inhabitants have created to raise social awareness; an aged, retired circus performer, Gilda (Suely Franco); and the redoubtable Dona Carmen, the residents’ spokeswoman and chief, respected by all (in one of the movie’s curious elisions between fiction and life, she is performed by real-life homeless persons’ activist Carmen Silva).

The resort is to be repossessed in 15 days. The film details the preparations for this momentous event — which involve, later, the dramatically shot possession of another property, as police in riot gear fire on all of them, with Dona Carmen instructing the residents to throw coconuts out of the windows at them. The backstories of a few of the characters deliver human interest: a little bit of footage of life down a Congolese coltan mine fleshes out Ngandu’s story (that is clever, and the movie could have done with more of it); and there are photographs of Hassam sitting within the urban wasteland which would now be his dwelling, had he not left Palestine. Skype calls home, usually tense, are recorded, which suggest that though life is hard for those in exile, it is tougher for those who’ve remained.

But it isn’t all doom and gloom and politics. At one other degree, the hotel is an instance of cultures co-current like a big household, with the day-to-day tensions which that suggests however fundamentally residing in peace. In the makes an attempt at resistance, within the multilingual humor and in a budding cross-cultural love affair, there is a gently inspiring, really feel-good angle to it which is appealingly credible, unforced and unsentimental. Globalization has led to many evils, it appears to be saying, but our fellow-feeling will prevail.

The Cambridge Squatter (the Portuguese title, which interprets as It Was the Hotel Cambridge,” is altogether extra evocative, and it’s arduous to see why the English title is within the singular) is riskily poised between documentary and fiction, though clearly rooted in actual facts. It’s a technique that doesn’t at all times come off. Sometimes it has the look of uncooked fly-on-the-wall; generally, particularly through a few of its clearly rehearsed dialogues, it appears to be like a little bit too stagey, lending the undertaking an unfocused, unsteady feel via some sections; and at other times, the political message is laid on with a trowel.

But within the parallels it draws between the homeless of Sao Paolo and the homeless of the world — refugees all, in the the scriptwriters’ view — this uneven movie delivers a potent combination of empathy and food for thought, not in contrast to a coconut thrown at the institution’s head.

Venue: San Sebastian Film Festival (Latin Horizons) Production firms: Aurora Filmes, Tu Vas Voir Cast: Jose Dumont, Suely Franco, Carmem da Silva Ferreira, Magaly Silva, Jussamara Leonor Manoel Director: Eliane Caffe Screenwriters: Eliane Caffe, Luis Alberto de Abreu, Ines Figuero Producers: Rui Pires, Andre Montenegro, Amiel Tenenbaum, Edgar Tenembaum Director of photography: Bruno Risas Production designers: Carla Caffe, Escola de Cidade Editor: Marcio Hashimoto Composer: Lucia Pulido Sales: Fandango

Not rated, 100 minutes

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