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|The Secret: El Secreto (Spanish Edition)
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Tienes en tus manos un gran secreto del universo.
Se ha transmitido a traves de los tiempos y ha viajado por los siglos...para encontrarte.
Este es el Secreto de todo: alegria, salud, dinero, relaciones, amor, felicidad...todo lo que siempre has deseado.
En esta asombrosa pelicula encontraras TODO lo que necesitas para entender y vivir The Secret--El Secreto.
Por primera vez en la historia, los prinipales cientificos, autores y filosofos revelaran The Secret, el secreto que ha transformado las vidas de quienes lo vivieron: Platon, Newton, Carnegie, Beethoven, Shakesspeare, Einstein.
Ahora TU vas a conocer The Secret--El Secreto y te va a cambiar la vida para siempre.
|City of Men
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Brand: Universal Music
As Seen on the SUNDANCE CHANNEL
From the team behind the Academy Award®-nominated feature CITY OF GOD, including directors Fernando Meirelles (THE CONSTANT GARDNER) and Kátia Lund comes the hit Brazilian television series CITY OF MEN, a comedy/drama about two teenage boys growing up in a dangerous Rio de Janeiro slum starring Darlan Cunha and Douglas Silva, featured in the motion picture that inspired this series.
The CITY is a shantytown located in one of the many mountains of Rio de Janeiro. The MEN are two 13-year-old kids, Laranjinha and Acerola. This series brilliantly mixes humor and reality to explore life in the "favelas" and in particular the indomitable spirit of two best friends growing up in one of most volatile communities in the world.
Brazilian TV series City of Men is a dazzling, propulsive, and fiery exploration of life in a chaotic Rio de Janeiro slum, seen through the eyes of Acerola (Douglas Silva) and Laranjinha (Darlan Cunha). These two boys prove to be amazingly charming tour guides to a world by turns terrifying and exhilarating. Using the jam-packed storytelling that made the movie City of God such a revelation, the first episode alone is a marvel, merging the history of Napoleon with a cutting analysis of drug lords and class structure in the poverty-ridden neighborhood. The other three episodes of the first series carry on this riveting approach, mingling social observation with rich, compelling characters. From the second series on, the show becomes less overtly political and more about Acerola and Laranjinha's passage from youth to adulthood (embracing, with humor and pathos, the adolescent boys' obsession with sex)--though every episode has some sly or startling observation about race, wealth, and gender. Each series is filmed a year after the previous one, so the boys literally grow before our eyes; it's impossible to watch and not feel deeply involved as Acerola woos a girl named Cristiane and ends up a way-too-young father, or as an innocent prank escalates into a life-and-death struggle. Some episodes teeter on the brink of silliness--one of the last ones has the boys engaging in absurd cross-dressing--but the briskness of the writing and the charisma of Silva and Cunha carry the show through. Add to this the dynamic musical score of Brazilian pop and samba, and you have essential viewing. World music has already found popularity in the U.S.; welcome to a masterpiece of world television. --Bret Fetzer
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One of the most acclaimed films of the year, CENTRAL STATION is a profoundly moving tale of the human spirit, featuring an unforgettable lead performance by Fernanda Montenegro (Best Actress Winner, National Board of Review). Inside Rio de Janeiro's bustling Central Station, two very unlikely soulsare about to become inextricably linked. When a young boy (Vinicius de Oliveira) witnesses his mother's accidental death, a lonely retired school teacher reluctantly takes the child under her wing. Although initially distrustful of each other, the two form an uncommon bond as they venture from the bustling city to Brazil's barren and remote northeast region in search of the boy's father. Together, the two embark on a journey of the heart that restores the woman's spirit and teaches the child precious life lessons. A powerful tear-jerker of uncommon grace and heart, CENTRAL STATION is destinedto become a classic.
In the opening scenes of Central Station, colorful crowds of Brazilians stream into and out of a Rio de Janeiro train, pushing through doors and windows. You're immediately pulled into the brutal vitality of a nation in motion, setting the tone for a picturesque road movie that charts Brazil's renaissance in a little boy's search for his father and an old woman's emotional reawakening. When we first meet Dora (Fernanda Montenegro), this frozen-hearted, sour-faced woman is the epitome of immobility: day after day, she sits in the train station selling her letter-writing skills to all comers, but often doesn't bother to mail these precious messages. When a woman who's paid Dora to write a pleading note to her son's long-missing dad gets run over by a bus, the child, Josue (Vinicius de Oliveira), is up for grabs. (The summary execution of a thieving street kid--in longshot--underscores the seriousness of this waif's plight.) After an abortive attempt to sell Josue for a new TV, the aspiring couch potato finds herself reluctantly propelled into an occasionally Fellini-esque odyssey through the hinterlands of Brazil's sertäo, where Dora and her sidekick find unexpected faith and family. Former documentary filmmaker Walter Salles (Foreign Land) mixes magic with realism in his appreciation of striking faces and places, but Central Station is primarily fueled by the tough/tender performances of Montenegro, Brazil's Judy Dench, and de Oliveira, an airport shoeshine boy Salles cast over 1,500 other hopefuls. (Montenegro was nominated for a Best Actress Oscar, and Central Station was in the running for Best Foreign Language Film.) No cloyingly cute child-star, de Oliveira plays Josue as a bracingly idiosyncratic brat. And watching Dora's face and soul slowly, unwillingly unclench as she gets back in motion--and emotion--is potent pleasure, even if Salles's trip does dead-end in soap opera as his Brazilian pilgrim's progress winds down. --Kathleen Murphy
- Portuguese with English subtitles
- Interactive Menus
- Audio Commentary by Walter Salles, Arthur Cohn, and Fernanda Montenegro
- Talent and Filmographies
- Widescreen format
|Behind The Sun (2001)
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Brand: Buena Vista Home Video
Golden Globe Award Nominee for Best Foreign Language Film, Behind The Sun is a critically acclaimed story about love, loyalty and the choice a son must make between honoring his family and following his heart. In th ebrutal Brazilian badlands of 1910, two families are locked in a bloody, generations-old feud. In one family, the oldest remaining son- distressed by the prospect of death and encouraged by his younger brother- begins to question the cycle of violence. Then, a beautiful young woman crosses his path and opens his eyes to life outside his culture's rigid code of honor. Stunningly photographed and exquisitely told, this outstanding motion picture masterpiece will transport you to a vastly different place and time... a place somewhere beind the sun!
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Behind the Sun is a rapturous Western, a big film about a big, unwanted destiny visited upon a vulnerable, young hero. Adapted from the novel Broken April by Albanian writer Ismail Kadare (the story has been transferred from Europe to Brazil's rugged, northeastern badlands in 1910), Behind the Sun concerns two families and their long-running land war, which has robbed many a young man of his hope, love and, ultimately, life. Sent by his aggrieved father to avenge the slaying of an older brother, Tonho (Rodrigo Santoro), in torment, carries out his bloody, ancestral obligation and then proposes a truce between the families. Director Walter Salles (Central Station) aims to make a magnificently crafted, lush, and exotic epic told in broad strokes for art house aficionados, and he succeeds almost to a self-conscious fault. Still, there is nothing like a stirring, archetypal tragedy about the endless repercussions of violence and the sacrifice of innocence to a dubious cause. --Tom Keogh
|Hour of the Star
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Brand: Kino Video
"Played with extraordinary unselfconsciousness by Marceila Cartaxo," (Janet Maslin, The New York Times), Macabea is the poster girl of social na+¯vet+ª; she works inefficiently and, by common standards, is unattractive and unqualified. Interning as a typist next to the savvy city-girl Gloria (Tamara Taxman), Macabea naively fantasizes about marriage with the uncaring Olimpico (Jose Dumont), a steel worker and fellow immigrant, while struggling to learn the social norms that could secure her dream life. Macabea's fate turn even darker when her co-worker Gloria hires the fortune teller Madame Carlota (Academy Award nominee Fernanda Montenegro). After listening to the Gods, Gloria discover that she must steal a friend's boyfriend and pass her bad karma to another woman.
|The House of Sand
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Filmed entirely on the magnificent, sandy coast of northern Brazil, Áurea's saga begins in 1910, in Maranhão, where her fanatical husband has relocated his family to start a farm. Desperate and pregnant, Áurea (Fernanda Torres) longs to return to the city, but cannot traverse the dunes with her aging mother, Maria (Fernanda Montenegro) in tow. When calamity strikes, the two women find themselves stranded. Eventually, they settle among the shifting sands and Áurea finds peace. But her passionate daughter, Maria, longs to explore the world beyond the dunes. This profound portrait of passing generations has established Andrucha Waddington as one of the most exciting directors in Brazil today.
The landscape looks like the surface of the moon. Set in Brazil's Maranhão desert, House of Sand follows three generations of women, from 1910 to 1969, as they eke out a living from this hostile environment. Oafish Vasco (director Ruy Guerra) brings pregnant wife Áurea (Fernanda Torres) and her mother, Dona Maria (Fernanda Montenegro, Central Station), from the city to make a new start. Shortly after they arrive, fate takes him out of the picture. Mother and daughter muddle through with the help of slave descendents. Wary at first, Massu (Seu Jorge, City of God) takes a particular shine to the duo. The story then skips ahead to 1919, when an escape route materializes. There will be two more shifts in time. By 1942, Áurea's daughter, Maria (Torres), has grown into impetuous womanhood, while Áurea (Montenegro) and Massu (Luiz Melodia) have settled into middle age. In the final section, set during the year of the first lunar landing, Áurea (Montenegro) is around the same age as her mother at the start of the film. With the exception of Camilla Facundes as nine-year-old Maria, Torres and her real-life mother assume every female role. What does it all mean? Andrucha Waddington (Me You Them) doesn't burden his enigmatic epic with a singular message, but those who appreciate dust-swept dramas like Woman in the Dunes and Walkabout aren't likely to hold it against him. The point seems to be that the human--especially the female--capacity for survival knows no bounds. --Kathleen C. Fennessy
Stills from House of Sand (click for larger image)
|A Talking Picture
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Brand: Kino Video
In July of 2001, eight-year-old Maria Joana embarks on an ocean cruise from her native Portugal to Bombay, India accompanied by her mother, history professor Rosa Maria (Leonor Silveira.) But as three mysterious and glamorous women, each played by a world-renowned film legend, board first at Marseilles (Catherine Deneuve - Umbrellas Of Cherbourg), Naples (Bernardo Bertolucci muse Stefania Sandrelli) and Athens (Irene Papas - The Trojan Women, Antigone), their picturesque journey begins to grow in tension and complexity. When ship captain John Walesa (John Malkovich - Being John Malkovich) hosts a unique summit between these three international graces, the table is literally set to transform A Talking Picture from a genial melancholic history lesson into an incendiary contemporary news flash.
|City of God
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Brand: Buena Vista Home Video
Celebrated with worldwide acclaim, this powerful true story of crime and redemption has won numerous prestigious awards around the globe! The streets of the world's most notorious slum, Rio de Janeiro's "City of God," are a place where combat photographers fear to tread, police rarely go, and residents are lucky if they live to the age of 20. In the midst of the oppressive crime and violence, a frail and scared young boy will grow up to discover that he can view the harsh realities of his surroundings with a different eye: the eye of an artist. In the face of impossible odds, his brave ambition to become a professional photographer becomes a window into his world ... and ultimately his way out!
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On June 12, 2000, a bus filled with passengers was hijacked in Rio de Janeiro in broad daylight. The kidnapper, Sandro do Nascimento, terrorized his victims for four and a half hours as the whole country watched the drama broadcast live on Brazilian T. Based on extensive research of stock footage, interviews and official documents, "Bus 174" is the careful investigation of the hijacking -- focusing on andro do Nascimento, his childhood, and how he was unavoidably doomed he was to become a bandit.
A shocking, hypnotic look at a real-life disaster. In June 2000, an armed gunman hijacked a bus in downtown Rio de Janeiro. An angry, strung-out former street kid, he spent an afternoon threatening his hostages while the lurid drama was broadcast live over the national TV networks. The extensive newsreel footage from this terrible event forms the bulk of Bus 174, but director Jose Padilha takes time to fill in the background, too: the poverty-broken world of the gunmen is detailed, and so is the political situation that led to some ludicrous decision-making on the part of the authorities during the siege. The fact that most viewers outside Brazil don't know how the ordeal ended will add to the suspense, but either way this is a gripping experience. The sight of the crazed hijacker, self-consciously styling his weird version of action-movie villainy, will haunt you long after the film is over. --Robert Horton
|Coffin Joe - At Midnight I'll Take Your Soul
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