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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.
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Brand: Zeitgeist Films
Fados completes the musical trilogy of award-winning Spanish director Carlos Saura's Flamenco (1995) and Oscar-nominated Tango (1998). Using Lisbon as a backdrop, he explores Portugal's most emblematic musical genre--fado. Tracing its African and Brazilian origins up to the new wave of modern fadistas, he ingeniously deploys mirrors, back projections, lighting effects, and lush colors to frame a collection of performances that survey a rich history of this art form. The result is a ravishing fusion of cinema, song, dance and instrumental numbers. Fados contains homages to such legends as Maria Severa and Amalia Rodrigues, as well as stunning turns by modern stars like Mariza and Camane; but Saura also expands the songs (which traditionally involve just a singer and a guitarist) with dance and encompasses other nationalities (with a special emphasis on performers of color from Portugal's former colonies) and idioms (such as hip hop, flamenco and reggae). Under the musical supervision of Carlos do Carmo, Fados features one of the finest world music soundtracks to date.
- 16:9 anamorphic presentation, enhanced for widescreen televisions
- "The Making of Fados": 25 minutes of behind-the-scenes footage and interviews with director Carlos Saura and featured musicians
- Song and performer guide
- On-set photo gallery
- International trailers
- Director's note from Carlos Saura
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Brand: O FANTASMA (DVD MOVIE)
No one can live without love . . . By day, brooding, lonely Sergio works as a trash collector in the streets of Lisbon. By night, Sergio embarks on an increasingly intense odyssey of random, anonymous sexual encounters. Quickly, Sergio becomes fixated on a hot, young stranger and begins to retreat further and further into his dark dream life, blurring the lines between fantasy and reality, love and obsession. In Portuguese with English Subtitles
|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)
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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
|Mango Yellow (Amarelo Manga) - Amazon.com Exclusive
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Brand: First RUN Features
Mango Yellow (Amarelo Manga) – Amazon.com Exclusive
Guaranteed to shock even jaded viewers, Claudio Assis' debut feature is seeped in bold, sun-drenched colors. It is a provocative tale of low-rent losers set in the coastal town of Recife, Brazil. Assis' characters seemingly stem from some Carnival hell - a macho butcher and his born-again wife, a forlorn barmaid, a sinister sadist and the gay manager of a flophouse called the Hotel Texas. A cleverly interconnected script propels the action in this highly original film with its perfect confluence between style and story.
Portuguese with English subtitles.
"The movie's surreal flavor underscores its message: This is how the lower half lives in Brazil, and by extension, humanity at it most basic, getting along without the rose-colored protections that affluence affords" -New York Times
"Thoughtful and well made... A strong and original new voice in Brazilian cinema" -The Culture Vulture
"A Wildcat of a Film" -Variety
Mango Yellow (Amarelo Manga) is an official selection of the prestigious, award-winning Global Lens Collection presented by the Global Film Initiative.
When sold by Amazon.com, this product will be manufactured on demand using DVD-R recordable media. Amazon.com's standard return policy will apply.
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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
|Black Orpheus (The Criterion Collection)
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1960 Academy Award Winner and winner of the Palme d'Or at the 1959 Cannes Film Festival, Marcel Camus' Black Orpheus retells the Greek myth of Orpheus and Eurydice against the madness of Carnival in Rio de Janeiro. With its magnificent color photography and lively soundtrack, this film brought the infectious bossa nova beat to the United States. Criterion is proud to present the extended international version of Black Orpheus in a gorgeous new transfer.
- Color, Dolby, Subtitled
- English (Subtitled), English (Dubbed), Portuguese (Original Language)
|Dona Flor and Her Two Husbands
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Directed by Bruno Baretto staring Sonia Braga BRAZIL (in Portugese with Eng ST)T his Brazilian comedy, based on the novel by leading Brazilian author Jorge Amado, follows the strange events that befall Dona Flor after the death of her wild, irresponsible husband. Attempting to marry more wisely the second time around, she weds a stable but boring pharmacist, only to be visited by the sexy ghost of her late husband
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