DepositFiles La vita invisibile di Eurídice Gusmão



Directed by: Karim Aïnouz
Actor: Flávia Gusmão
year: 2019
Country: Brazil
Tomatometers: 8,9 of 10
The Invisible Life of Euridice Gusmao, a tale of two sisters and their struggles in a male-dominated society in 1950s-era Brazil, won the Un Certain Regard prize at Cannes, which aims to shine a light on more unusual movies.

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The Invisible Life of Euridice Gusmao by Martha Batalha Open Preview See a Problem? Wed love your help. Let us know whats wrong with this preview of The Invisible Life of Euridice Gusmao by Martha Batalha. Thanks for telling us about the problem. Be the first to ask a question about The Invisible Life of Euridice Gusmao 2, 183 ratings 323 reviews Start your review of The Invisible Life of Euridice Gusmao Aug 16, 2017 Paromjit rated it it was amazing This is an extraordinary novel about the gifted and vivacious Euridice Gusmao, set in the Brazil and Rio of the 1940s through to the 1960s. Euridice is the every woman of that period, and drawn from the women from the author's family, and the stories relayed in the book are rooted in truth. Her childhood sees her having to accommodate those who could not bear or tolerate her talent and rail against her parents over their refusal to let her to take up an offer to develop her playing of the This is an extraordinary novel about the gifted and vivacious Euridice Gusmao, set in the Brazil and Rio of the 1940s through to the 1960s. Her childhood sees her having to accommodate those who could not bear or tolerate her talent and rail against her parents over their refusal to let her to take up an offer to develop her playing of the recorder. Her sister, Guida, is the opposite of Euridice, non academic, but is more knowing of the world, fashion, make-up, and boys. The sisters are inseparable, supporting each other, until the day Guida leaves to elope with Marcus, a medical student from an elite family. This changes everything in the family, the parents grieve over her loss and their suffering induces Euridice to become the good daughter, to marry Antenor and be the perfect and obedient wife to him, and to bury and repress her true self deep within her. Through the years she continues to miss her beloved sister. Antenor seeks a traditional housewife, whilst he fulfills the role expected of a man as the breadwinner and decision maker. He mistakenly believes Euridice was not a virgin on their wedding night, and he just cannot let this go, castigating Euridice, and bringing this up constantly with his whisky nights that become a recurring ritual for him. Their children, Cecilia and Afonso, are the apples of their eyes, Euridice ignites a lifelong passion to learn within them, but being a housewife and mother is not enough. She becomes passionate about cooking and sewing, but her dreams of taking them further are crushed by Antenor who forbids her to pursue them. The bitter and unhappy neighbourhood gossip, Zelia, comes from a family that have been cursed, thanks to the amorous activities of her father. She targets Euridice, spreading untrue rumours as is her wont, bringing strife and trouble in her wake. Guida's life turns out to test her to her limits, as suffering. pain and poverty become her lot. Her son, Chico, is the light of her life, for whom she will do anything. She becomes close to an ex-prostitute, Filomena, supporting each other, through hard times until Filomena dies of cancer. Guida eventually turns up at Euridice's with her son. Euridice is overjoyed to see her sister, and from that point, the lives of both sisters take a turn for the better as they become closer to their true selves, irrespective of society and family judgements and expectations. This is a touching and moving read, packed with larger than life eccentric characters that make this a compelling novel. Euridice is a woman that you cannot help but be charmed by, and you feel for her as her dreams turn to ashes, until the return of Guida. I love the way the author has weaved the harsh historical realities of women, capturing the attitudes of the time, and their burdens. She spices it up with the regional traditions of magical realism with flair, along with the colour and vibrancy of the place and the community. An absolutely brilliant novel that I highly recommend. Thanks to Oneworld for an ARC... Jun 30, 2017 Cheri 4. 5 Stars In the “Dear Readers” section at the beginning of this book, Martha Batalha, the author, notes that much of the stories woven into this thoroughly enjoyable debut novel actually did take place. There are small historical snippets place within for you to more fully feel, understand the place and time and tempo of this life. And then she goes on to say: ”But the parts of this book most faithful to the truth can be found in the lives of the two protagonists, Euridice and Guida. Many like 4. Many like them can still be found. Theyre the women who show up to Christmas parties and spend the bulk of their time sitting there quietly, with their napkins in their hands. Theyre the first to arrive and the first to leave. They discuss the seasoning of the cod croquettes, the numerous different desserts and the wine ? never drinking too much. Theyre the ones who ask you how your husband is doing, if their great-niece has a boyfriend yet, or when another great-nephew will be on the way. ” “The lives of Euridice and Guida have drawn inspiration from the women in my family, and perhaps yours as well. ” Theres a bit of some of our favourite quirky literary characters in Euridice, shes well-read, and strong-willed like Jo March, independent and compassionate like Britt-Marie, and a bit on the quirky and sometimes, somewhat oblivious side, at times, like Eleanor Oliphant. Shes the best of all of those, and throw in a pinch of Julia Child, who has found her way into at least one story that I know with her love of cooking, magically transformed recipes. Add the aura and beauty of Rio to their life, a healthy dose of magical realism, and you have the story of two sisters, with the men in their lives in the background directing, or trying to, everything they do. A story that is reminiscent in style of a feminine version of Gabriel Garcia Marquez with less sex, and a wink of humour. There are a host of other characters from the neighborhood busybody who makes loud pronouncements about Euridice spending money and bringing disaster upon their family, to the pharmacist who gets creative with filling prescriptions. You can see from these declarations what others think of her, and whether or not this affects her, or if she cares. Beautifully written, this story is really Euridices inner life, her inner world, her thoughts and hopes and dreams. Oftentimes those thoughts take you back and forth through time, as thoughts often do, other times the focus is turned to her sisters life, her friends or people she encounters through her life, here and there weaving in their stories of actual events that took place, showing us how life really was in that place and time. A women living in the 1940s who values herself, who knows her worth is beyond the value placed on her by others, and by holding onto that self-affirming status, and believing in herself, she grants herself the rights she wishes for. In doing so, she sets herself a bit apart, fingers are pointed, people talk, but now that she is seen, no longer invisible, and she also serves as an inspiration to others. Pub Date: 07 Sep 2017 Many thanks for the ARC provided by Oneworld Publications... Jun 14, 2017 Vanessa I just simply LOVED LOVED this book. I love Euridice. I love the writing style. It's over the top but full of vibrant interesting unique characters that samba dance right off the page. It incorporates touches of magical realism to add to the charm of this book. This is undoubtedly a Brazilian feast of imagination bringing the colourful world of Rio alive with all it's wonderful customs and people to the literary page. I'm so excited that I was given the opportunity to read this book, what a I just simply LOVED LOVED this book. I'm so excited that I was given the opportunity to read this book, what a splendid surprise! These characters have sung and danced all the way into my heart, brilliant work from this incredibly talented author. Bravo! If you enjoy quirky, non traditional storytelling this will be a treat for you! I'm calling it now this is one of my favourite reads of the year thus far! Thank you to Netgalley, and Oneworld Publications for the opportunity to read and review this advanced copy... Jun 04, 2019 Hugh really liked it A rather charming story of two sisters in Rio in the 50s and 60s. Euridice is clever and talented, but after her older sister Guida disappears, she abandons her dreams of a life in music to conform with her parents expectations of a conventional marriage. Her spoilt husband Antenor wants nothing more from her than being the perfect housewife, but he cannot control her dreams or her mind, despite failing to support her projects or her dreams of a fulfilling life. Meanwhile Guida, who appeared to A rather charming story of two sisters in Rio in the 50s and 60s. Meanwhile Guida, who appeared to have followed her dreams by marrying a rich boy from a long establushed noble family, suffers greater losses but never surrenders her spirit, and her return encourages Euridice to pursue her own dreams. Thanks to Lark for including this book in her best of 2018 picks - without that recommendation I probably wouldn't have found this one... May 30, 2017 Lark Benobi At first I dismissed the writing style as meandering whimsy but after I'd read the first few pages almost magically the book won me over completely. This novel is a lovely affirmation of the bonds of family. It's also a subversive examination of the ways women learn to cope with, and at times transcend, the restrictive roles they're expected to play in traditional cultures. Joyous. Jul 13, 2017 Bianca 3. 5 stars I am in two minds about this novel. On one hand, it deals with the life of Euridice Gusmao, who finds herself stuck into the role of model wife and mother, but is bored and wonders if there's more to life than cleaning, cooking and shopping. Throughout the book she takes on with gusto different endeavours: gourmet cooking and creating her own recipes - but her
Acabou de vencer como melhor filme na Mostra Um Certo Olhar. Pela primeira vez um filme brasileiro recebe o prêmio. O teaser trailer lançado não faz jus ao filme, é preciso um novo, com mais punch. O filme foi exibido hoje no Festival. The story is set in Rio de Janeiro in 1950. The film centers around two sisters, Eurídice, 18, and Guida, 20, who share a close bond and live at home with their conservative parents. Despite being traditional for the most part, each nourishes an ambition. Updated On: 17:55 PST, Aug 29, 2019 'The Invisible Life of Eurídice Gusmão' Brazil's 2020 Oscar entry in the 'International Feature Film' category, has been bought by Amazon Studios before its North American debut at the Toronto International Film Festival (TIFF. The Portuguese-language film previously won the Cannes' Un Certain Regard award. The melodrama centers around two sisters struggling to define themselves in the machista culture of Brazil in the 1950s. The movie is based on the 2016 novel 'The Invisible Life of Eurídice Gusmão' by Martha Batalha. The Brazilian?German drama is part of Amazon Studios head Jennifer Salke's plan to counter Netflix by focusing on quality rather than quantity. Besides mainstream pictures with a wide theatrical release, along the lines of 'The Big Sick' Amazon Studios is also purchasing smaller, art-house films. These art-house films will see a shorter theatrical release and will be positioned as contenders in the awards race. Release date: The film will make its North American premiere at TIFF on September 10. Amazon Studios, which bought the North American rights to the film, is yet to reveal its U. S. release date. Plot: Eurídice wants to become a renowned pianist, while Guida dreams of finding true love. When they are separated by their father and forced to live apart, they each take control of their separate destinies, while never giving up hope of finding each other again. The film is being described as a “tropical melodrama”. Cast: Julia Stockler, left, and Carol Duarte, the main leads of 'The Invisible Life of Euridice Gusmao' at the Cannes photocall for the film (Getty) The film stars Carol Duarte, Julia Stockler and Fernanda Montenegro. Fernanda Montenegro is an Oscar nominee for best actress in Walter Salles' Central Station' 1998) which was the last Brazilian movie to be nominated in the category. Montenegro plays the older Eurídice Gusmão in the film while Carol Duarte plays the young Eurídice Gusmão. Julia Stockler has been cast as Guida Gusmão, Euridice's sister. Nikolas Antunes portrays the Greek sailor Yorgos, Guida's lover. Their stern father, Manuel, is played by Antonio Fonseca, while the part of their dutiful mother, Ana, has been essayed by Flavia Gusmao. Other cast members include Antenor Bárbara Santos, Maria Manoella, Cristina Pereira and Gillray Coutinho. Creators: R-L) Rodrigo Teixeira, Director Karim Ainouz and Michael Weber attend the photocall for 'The Invisible Life of Euridice Gusmao' during the 72nd annual Cannes Film Festival on May 20, 2019 in Cannes, France. (Getty) The film's director is Karim Ai?nouz, an award-winning film director, screenwriter and visual artist. Ai?nouz drew on his memories of his single mother for 'The Invisible Life of Eurídice Gusmão. Rodrigo Teixeira, who produced 'Call Me By Your Name' and 'Frances Ha' among others, is one of the film's producers along with Viola Fügen and Michael Weber. The film is an RT Features production, with co-producers Pola Pandora, Sony Pictures, Canal Brasil, Naymar and UNO Filmes, and support from Ancine/FSA/BRDE and Medienboard Berlin-Brandenburg. Trailers: The trailer shows the two sisters confiding in each other, each supporting the other in any way they can, especially when it comes to convincing their father. But destiny splits them apart. Guida returns home pregnant after a failed love affair but sees that her father has already sent her sister away. She too is asked to leave the house because she has disgraced the family. Even as both sisters struggle to adjust to their lives apart, they are unable to forget each other.? If you liked this, you'll love these: Biutiful. Incendies. Roma. Cold War' and 'The Salesman. If you have an entertainment scoop or a story for us, please reach out to us on (323) 421-7515.
Enter the characters you see below Sorry, we just need to make sure you're not a robot. For best results, please make sure your browser is accepting cookies. Type the characters you see in this image: Try different image Conditions of Use Privacy Policy 1996-2014, Inc. or its affiliates. Tô muito ancioso pra vê. ‘The Farewell named best film at Spirit Awards 09 February 2020 ScreenDaily Uncut Gems wins best lead actor, directing, editing. Lulu Wang s The Farewell was named best feature at the Spirit Awards in Santa Monica on Saturday (8) in a night that recognised female directing talent in stark contrast to tomorrows Oscars. Olivia Wilde won best first film for Booksmart, and American Factory, co-directed by Julia Reichert, alongside Steven Bognar) won best documentary. Renée Zellweger won best actress for Judy and has virtually swept the boards this awards season ahead of Sundays expected win at the Academy Awards. Adam Sandler was a popular winner for Uncut Gems, which took home See full article at ScreenDaily ? 'Parasite' Makes History With First South Korea Spirit Award Win Parasite, Bong Joon Ho s dark comedy juggernaut, made history Saturday at the 2020 Independent Spirit Awards as it took home the ceremony's best international film prize. The film, which is up for five Academy Awards, including best picture, was the first-ever South Korea winner at the annual awards show held on the beach in Santa Monica. Parasite bested fellow nominees Invisible Life (Brazil) Les Misérables (France) Portrait of a Lady on Fire (France) Retablo (Peru) and The Souvenir (U. K. Upon receiving his award from Zazie Beetz and Jon M. Chu, Bong reminisced on his history with the awards ceremony. See full article at The Hollywood Reporter ? Final Predictions For The Independent Spirit Awards 06 February 2020 by Joey Magidson In two days, the Film Independent Spirit Awards will be handed out. By now, we all know how different the Spirit Awards are than Oscar. That goes without saying. This year, the Academy Awards largely went in a separate direction, so theres less crossover than usual. So, that means we can worry less about if these voters will reject/simulate the Academy, and just focus on how the vote might go. Ive tinkered a bit with my picks, though ultimately I think it could be a really good night for Uncut Gems. Watch out for The Farewell (or Marriage Story) in the top category, while The Lighthouse could end up spoiling in several categories. Its going to be interesting, the results, that much I can assure you of… Enough talk. Youve read my thoughts on this race already in the very recent past. Time for what See full article at ? Updated Independent Spirit Award Predictions 28 January 2020 The night before the Academy Awards, the Film Independent Spirit Awards will be handed out. Obviously, the indie equivalent to the Oscars is not a predictable precursor, but it has another charm to it. Namely, its that this is the final chance to cite some of the beloved movies of 2019 that the Academy snubbed. Films that came close to Oscar nominations but missed, as well as ones that never sniffed a nomination, they both compete equally here. Other years have had more flicks that line up with the big boys, but its an interesting mix here. In fact, its very hard to tell how the Indie Spirit Awards will go this time around, but Im about to try, thats for sure. Take a look now at my predictions for the Spirit Awards. Well have another update before the show, but for now, this is my preview… ‘Les Misérables Makes Melancholy Debut, ‘Parasite Receives Awards Season Boost ? Specialty Box Office 12 January 2020 by Dino-Ray Ramos Deadline Amazon Studios released Les Misérables gripping police brutality drama and despite being a Cannes Jury Prize winner, recent Golden Globe nomination and being Frances official Oscar entry for Best International Feature, the film opened to a disappointing low, earning an estimated 24, 414 in its four runs in New York and Los Angeles. It seems that the awards season boost and critical acclaim couldnt give the foreign-language film the push it needed for a strong theatrical opening. The film stars Damien Bonnard, Alexis Manenti and Djebril Zonga and marks filmmaker Ladj Ly s directorial debut. The timely drama has nothing to do with the popular musical but is inspired by the real-life riots that occurred in the suburbs of Paris in 2005, a story that hits close to home for Ly as these riots had a long-lasting effect on his neighborhood, Montfermeil. This comes after Amazon s rocky box office year See full article at Deadline ? Box Office Report For January 3-5 05 January 2020 Welcome back one and all to the weekly box office report! As is always the case, each and every Sunday you can expect a look at what made the most money in theaters, as well as just how all of the new releases fared. This week, our crop of new releases goes up against the third week of Star Wars: The Rise of Skywalker. Competing against that blockbuster? We have…The Grudge. Not much of a fair fight, it seems. How did they do? Read on to see how the weekend turned out… This wont surprise anyone, but Star Wars: The Rise of Skywalker remains in the top spot this weekend. After somewhat of a soft opening, the conclusion to the Star Wars Saga continues to make plenty of money, though again, at a somewhat smaller clip than would have been expected. This time around, it was only a 33. 7 million haul. 10 Films to See in January 02 January 2020 by Jordan Raup The Film Stage Its the start of a new decade and while our most-anticipated films of the year will be unveiled in the coming weeks, well start with a look at January. As always when it comes to the beginning of a new year, a number of 2019 favorites will also be expanding this month, including Terrence Malick s A Hidden Life, Karim Anouz s Invisible Life, and Sam Mendes s 1917, so check your local theater listings. A major part of the month will also feature extensive coverage from the 2020 Sundance Film Festival, so be sure to bookmark this link for all of our reviews, interviews, and more. Now, on to what is coming to theaters this month. 10. Underwater ( William Eubank; Jan. 10) Yes, an early January release doesnt bode well for any film but there are enough enticing factors to this aquatic thriller that have our curiosity piqued. Theres director William Eubank behind the camera, See full article at The Film Stage ? Zhuo-Ning Sus Top 10 Films of 2019 01 January 2020 by Zhuo-Ning Su Following our top 50 films of 2019, were sharing personal top 10 lists from our contributors. Check out the latest below and see our complete year-end coverage here. Arguably the defining film discourse this year was ignited when Martin Scorsese compared Marvel movies to theme parks. Fans got defensive, which is understandable given the passionate, apparently inexhaustible love for Iron Man & Co. But when you take a look at the box office receipts of 2019, you realize its the moviegoers of this world who seem to have decided (with their wallets) that everything else they find at the cinemas are not movies. This is not to suggest that no non-Marvel films did well financially. But that is becoming more and more the exception and the general consumer preference has gotten so lopsided its hard not to read it as a categorical rejection of anything original, unfamiliar, not based on pre-existing IP. Top 150 Most Anticipated Foreign Films of 2020: 147. Sous le ciel dAlice ? Chloé Mazlo 30 December 2019 by Nicholas Bell Sous le ciel dAlice For her directorial debut, celebrated short film director Chloé Mazlo will have Sous le ciel dAlice (translated as Under Alices Sky) on hand for 2020. Produced by Moby Dick Films Frederic Niedermayer (Mademoiselle de Joncquières) Mazlo has nabbed Italian actress Alba Rohrwacher and Lebanese-Quebecois playwright Wajdi Mouawad to headline the production. Cinematographer Hélène Louvart is lensing the Moby Duck Films production. Mazlos 2015 short “The Little Stones” received a Cesar while her animated 2010 short documentary “Deyrouth” was well-received and well-traveled on the festival circuit. … ‘Invisible Life Review: An Unabashed, Affecting Brazilian Melodrama 26 December 2019 by Marshall Shaffer Slash Film There came a point early on in Karim Aïnouz s drama of separated sisters, Invisible Life, where I wondered if the way he depicted a scene veered a little too sharply into the melodramatic and borderline hysterical. Then I remembered how the poster billed the film: a tropical melodrama. Once I reset my bearings a bit, …] The post ‘ Invisible Life Review: An Unabashed, Affecting Brazilian Melodrama appeared first on /Film. See full article at Slash Film ? The Best Films of 2019, According to IndieWires Staff 23 December 2019 by IndieWire Staff Indiewire Over the course of a single year, the staff of IndieWire consumes a dizzying amount of films, thanks to packed film festival slates, stuffed streaming offerings, and regular old theatrical releases. Along the way, we find plenty of films to love, and closing out another year at the movies gives us a chance to keep spreading the good word of the years best (at least in our eyes. For those of you obsessed with numbers, IndieWires overall top five film picks likely dont surprise: Bong Joon Ho s “ Parasite ” was the clear favorite, but it was followed by an array of darlings, including Celine Sciammas “ Portrait of a Lady on Fire, ” the Safdie brothers “ Uncut Gems, ” Greta Gerwig s “ Little Women, ” and Martin Scorsese s “ The Irishman. ” And while those top favorites appeared on a number of lists, a few films only appeared on one, including See full article at Indiewire ? As Specialized Movies Face Holiday Box Office Storm, ‘Parasite Hangs Tight 22 December 2019 by Tom Brueggemann Specialty fare enjoyed a strong fall, well ahead of award kudos, as “
Reviews 'This zesty Brazilian debut has the same brightly coloured quality as a folk painting. A novel that brims indeed with invisible life?- not just Euridice's, but the dreams of an entire cast of women: housewives, daughters, and the forsaken who fall in between. Beguiling... Has all that much changed? we can hear the author sighing between the breathless pauses of her fable-like talha winkingly employs echoing names like Antenor, Antonio, Alfonso and Alvaro to suggest that her male characters have all tumbled out of the same chauvinistic nest. In this translation from the Portuguese by Eric M. B. Becker, Batalha's empathy is buoyed by puckish wordplay and nostalgia for a time when an act of emancipation entailed a manual typewriter and a good smoke: Each cigarette was a cry of freedom that was complete in itself and left no tracks. With something of? Chocolat 's charm about it, this is a funny, empowering tale of two sisters in forties?Rio de Janeiro whose lives diverge only to come back together as they search for a sense of their own lives. A real gem of a book. Humorous and exuberant, this book is a rare treat. Martha Batalha] brings to life her many characters and the sights, smells and experiences of the world they live in with a deft, wry touch. With sharp humor and pointed prose, Marta Batalha's novel rebels against the patriarchal forces of her home country. Tremendous fun. A story of kindness and grace, which does not need to be any longer, but is sufficiently addictive to make us wish it were. The arc of this novel, the writing, the characters, are a joy to read. With humor and fresh, clever writing, the author addresses women's issues in mid-century society... All the characters' stories and descriptions are so cleverly told and so much fun to read.?I loved this book. It puts a spotlight on women living in the ´40s, and is told with originality and skill. It is such a refreshing read, and I highly recommend it. This is the author's debut novel, and I will watch for anything new from her in the future. Extraordinary. You can't put this book down. A worthy debut for Batalha, full of wry humor. Filled with intrigue, mystery, sadness, and a novel's-worth of fierce leading ladies, this one is perfect for fans of Julia Alvarez and Gabriel Garcia Marquez. Martha the story of the brilliant sisters Guida and Euridice with humour, social awareness and wit. Batalha] effortlessly brings to life not only her many characters, but the sights, smells and experiences of the world they live in with a deft, wry touch.?Characters are at the heart of this enchanting, unusual debut novel which draws readers in with its witty, evocative prose. Funny,?sensual, and full of the flavour of a city rarely captured in fiction. Vibrant and very human. I know they say don't judge a book by its cover, but the cover art for The Invisible Life of Euridice Gusmao is what drew me in because it's just beautiful?bold and vibrant and whimsical, which, as you might have guessed, could describe Euridice herself. She is scrappy and industrious, and it was a pleasure to get to root for her throughout this novel. An irrepressible tale of life and love. Humorous and sensitive. Martha Batalha's mature writing, which is also smooth and intoxicating, seasoned with characteristic authority and jolliness, and an immersive plot, makes this book a narrative delight. Delightful and funny. The writing style reminded me of A Man Called Ove - dark humor, quirky characters - it was an absolute delight. Spellbinding. Batalha is one of those rare writers who can summarise an entire life in a single paragraph, so when she spends an entire book on a single life, the reader is in for a treat. Batalha's debut shines a light on often-overlooked members of society and paints a thorough and riveting portrait of its characters that will keep readers engaged till the end. The Invisible Life of Euridice Gusmao is earthy and witty, and the lives of its heroines of everyday existence are memorable and inspiring. The Invisible Life of?Euridice Gusmao ?unfurls a?tender portrait of?a?woman insisting upon?a life of?her?own?making, and?it's?a?wondrous tribute to?the?quiet resiliency of?women coping with?myopic traditions. Irrepressible. The cumulative effect of the novel's interwoven stories is a quiet celebration of the lives women lead away from novel's final lines, representing the "tack-tack-tack” of the typewriter's keys, suggest that Euridice, along with the other women in the novel, will end up having the final say. An absolute dream. Every woman should read this book. A unique and enchanting novel. ‘We love the raging irony of this story and its portrayal of a secret rebel. '? ‘A jubilant novel about the emancipation of women. ‘Martha Batalha creates a nostalgic, exotic microcosm…full of compassion, but with a good pinch of irony and a hearty helping of humour. ‘Martha Batalha delivers a feminist debut. and a beautiful journey through folkloric Rio filled with the scent of spices, coconut milk and guava marmalade. ‘Razor-sharp, dry, caustic and intelligent. ' Clever and with amusing tales told through its array of memorable characters. An epic saga, a roman-fleuve. A remarkable narrative...
Cadê os comentários? rssss. The Invisible Life of Euridice Gusmao is a melodrama that gives the audience a look at Brazilian culture during the 1950s and what life was like for most women under the patriarchal society that often made them struggle to succeed. What captured my attention from the outset were the spectacular set design and the period costumes that accurately depict life from that time. The production team, particularly director Karim Aïnouz and producer Rodrigo Teixeira, have my ultimate respect in nailing those aspects so accurately. This film entertained and educated me about that period of time and its culture, which are very unique characteristics I don't often see, but love.
The film is about two inseparable sisters living in Rio de Janeiro during the 1950s, that live under their conservative parents' strict guidance. Even though both sisters are involved in the traditional life that surrounds them, Euridice wants to become a renowned pianist and Guida wants to find true love. When their father separates them and makes them live apart from each other, they work to meet their goals, while hoping that they can reunite one day and celebrate life together, since they are each other's support and joy. My favorite scene is when Euridice carefully covers for Guida's secret nighttime outings to dance clubs with a Greek sailor. She encourages her sister to not give in to their parents' strict lifestyle and proposes that they should expose themselves to experiences that will fill them with happiness. The important message that I learned from this film is the importance of how women have fought for their place and equality within a patriarchal society. Before, women were submissive to the patriarch, but as time has passed, society has realized what a huge injustice was being made and corrected the social forms. This movie is very big on showing how times were different back then for women and how thankful we all must be that a turn was made. Young women like Euridice and Guida struggled from an early age to find happiness. I rate this movie 5 out of 5 stars and recommend it for ages 13 to 18, plus adults. Reviewed by Alejandra G. KIDS FIRST! Reviewers. For more film reviews by tweens and teens, visit kidsfirst dot org.
Pure and sensual. Made me cry after screening and that happens clearly almost never. Screened last night as part of LFF 2019 ; a fantastic heartbreaking film, beautifully shot and acted. Língua portuguesa, Brasil. Literatura brasileira. Escritora brasileira. The Invisible Life of Euridice Gusmao, Brazils official submission for the 2019 Foreign Language Film Oscar, tells the story of two sisters, Euridice and Guida, growing up in a conservative family. Based on a novel by Martha Batalha, the film opens in the 1950s in Rio de Janeiro as Guida falls in love with a Greek sailor and Euridice, the younger sister, dreams of becoming a professional pianist. Over the decades, we will follow as the pair face the struggles and tribulations of the real world. Lushly saturated and epic in scale, the film not only captures a sense of time and space but the subjective reality of their emotional highs and lows. What is immediately striking about The Invisible Life of Euridice Gusmao are the velvety textures. The colour palette, rich in vibrant, warm colours painted in chiaroscuro lighting, often feels shielded from the sun. Most of the film takes place either indoors or in closed-off crowded spaces. In stark contrast to the larger than life ambitions and romanticism of the characters, their world often seems small and guarded. The trappings of their gilded cage and the limits imposed by religion, gender and class consistently closing around them are only barely concealed by the immense beauty of their pampered world. While beauty seems to offer both status and mobility in equal terms, it serves to entrap the young women. Their physical prowess and their increased alienation from their bodies as they age, get pregnant and give birth is intimately tied into their value as people within the society. While beauty, quite obviously, offers power, it is limited in terms of time and scope. And the elegance of environments, beautiful homes and modern apartments similarly come to symbolize how far these characters have fallen from their dreams and aspirations. Comfort, rather than being pleasurable, becomes a means of control. Continually, the necessary creature comforts lord above the sisters as threats: stay in line, or youll lose not only the luxuries but the necessities, too. Turning your back on what is predestined by your family and society might as well mean choosing death. Without having read Batalhas novel, Elena Ferrantes Neapolitan novels come to mind while watching the film. They both deal with the parallel lives of women who aspire to leave their neighbourhood and regain dignity and humanity in their lives. They are decade-spanning portraits of changing worlds and the tumult of moving from one life stage to another, especially for women who in culture and art too often lose their value and importance once they exit their early 20s. What Ferrantes works and The Invisible Life of Euridice Gusmao also share in common is the subversion of nostalgia. They take the images and memories of important moments from Italy and Brazils past, dress them up beautifully and tear them down. Brazils current leadership, a right-wing government represented by populist leader Jair Bolsanaro, has repeatedly used slogans like “Lets make Brazil Great! Lets be proud of our homeland once again! ” He has also heavily romanticized the nations military dictatorship, which ended in 1985, yearning for the eras portrayed in The Invisible Life. The film, though, is hardly romantic about that era. It uses its melodrama to counter the illusion of a secure and free Brazil of the past, and the personal cost of oppression via religious and cultural policies. As the film spans over half a century, some of the leaps in time are jarring, especially towards the last act. The final “chapters” take a moment to adjust to, as they differ so significantly from the rest of the film but serve to emphasize the already established ideas and to emphasize the indiscriminate power of time. As much as it is about two sisters, the film is about memory and how easily we forget the past. The story of Euridice and Guida doesnt hold national importance in the sense that their lives initiated the change. Still, they are essential for reflecting the consciousness and consequences of policies, beliefs and circumstances. Their lives are invisible in a grand sense, even if they are representative and vital in understanding the relationship between the past and present. In light of a global political shift towards the right, films like The Invisible Life of Euridice Gusmao dismisses the idea that things were so much better back in the day. On the surface, the lush visuals signal a sense of romanticization of the past. Still, time and time again, the film emphasizes the hopelessness of the characters circumstances and the mundane nature of the cruelty they face. The struggles in their lives are rarely random and hardly confined to the personal failure of themselves or family members, they are directly caused by the cultural and social norms that keep them locked away in their cages and hidden from the light of opportunity and freedom.? ■ The Invisible Life of Euridice Gusmao opens in Montreal theatres on Friday, Jan 3. Watch the trailer below. For our latest film reviews, please visit our? Film ?section.
The Invisible Life of Eurídice Gusmão The Invisible Life of Eurídice Gusmão, which won Un Certain Regard at Cannes earlier this year, is a vibrant, socially relevant, and richly told story of sisterhood ripped apart by men who see women as nothing more than baby making objects. The Invisible Life of Eurídice Gusmão opens in 1950s Rio de Janeiro with a look at the lives of two different, but devoted sisters. Shy and reserved Eurídice (Carol Duarte) doesnt care much for boys and is skittish about sex, but shes also due to be married to the son of one of her conservative minded, bakery owning fathers most prized distributors. Older sister Guida (Julia Stockler) is boy crazy and ends up eloping to Europe to follow a Greek sailor. Not long after Eurídices abysmal wedding night, Guida returns to Rio alone and very pregnant. Still furious about his daughters abandonment of the family and disgusted that shes about to give birth to a bastard, Guidas father disowns her and throws her out onto the street. Eurídice, who has long since moved out and is still chasing her dream of studying piano at the Vienna Conservatory, has no idea that Guida has returned. Eurídices parents never mention that they saw her sister, and Guida is told that Eurídice has already left for Vienna. Its a lie that perpetuates for years, with Guida desperately writing her sister and never receiving a response. Directed and co-written by Brazilian auteur Karim Aïnouz and adapted from Martha Batalhas bestselling novel, The Invisible Life of Eurídice Gusmão is the sort of well paced and all encompassing dramatic epic where years can pass and major changes can occur across the span of a single line of dialogue or well placed edit. Eurídice might be the title character, but its just as much Guidas story, with the estranged sisters arc frequently carrying more resonance. Together, Aïnouz parallel narratives honestly illustrates the loneliness of women when patriarchy is at its most powerful. The loneliness and longing experienced by Eurídice and Guida is both literal and emotional, and every success experienced by the characters still comes laced with tinges of heartbreak and disappointment. The sadness and frustration throughout The Invisible Life of Eurídice Gusmão is palpable and realistic, and even though it starts to drag in the latter stages, Aïnouzs latest is one of this years best depictions of women on screen that wasnt made by a female filmmaker. Tuesday, September 10, 2019 ? 5:45 pm ? TIFF Bell Lightbox 2 Thursday, September 12, 2019 ? 6:15 pm ? Scotiabank Theatre 2 Sunday, September 15, 2019 ? 3:15 pm ? Scotiabank Theatre 14 Andrew Parker fell in love with film growing up across the street from a movie theatre. He began writing professionally about film at the age of fourteen, and has been following his passions ever since. His writing has been showcased at various online outlets, as well as in The Globe and Mail, BeatRoute, and NOW Magazine. If he's not watching something or reading something, he's probably sleeping.
Music please. The Invisible Life of Eurídice Gusmão Theatrical release poster Directed by Karim Aïnouz Produced by Rodrigo Teixeira Michael Weber Viola Fügen Screenplay by Murilo Hauser Inés Bortagaray Karim Aïnouz Based on The Invisible Life of Eurídice Gusmão by Martha Batalha Starring Carol Duarte Julia Stockler Gregorio Duvivier Bárbara Santos Flávia Gusmão Maria Manoella Antônio Fonseca Cristina Pereira Gillray Coutinho Fernanda Montenegro Music by Benedikt Schiefer Cinematography Hélène Louvart Edited by Heike Parplies Production company RT Features Pola Pandora Canal Brasil Naymar Distributed by Sony Pictures Vitrine Filmes Release date 20?May?2019 ( Cannes) 21?November?2019 (Brazil) Running time 139 minutes Country Brazil Germany Language Portuguese Box office 1. 6 million [1] The Invisible Life of Eurídice Gusmão ( Portuguese: A Vida Invisível) 2] is a 2019 internationally co-produced drama film directed by Karim Aïnouz based on the 2016 novel The Invisible Life of Eurídice Gusmão by Martha Batalha. [3] 4] It was screened in the Un Certain Regard section at the 2019 Cannes Film Festival, 5] where it won the top prize. [6] It was selected as the Brazilian entry for the Best International Feature Film at the 92nd Academy Awards, but it was not nominated. [7] Plot [ edit] In Rio de Janeiro during the 1950s, two sisters struggle against repression and bigotry in a patriarchal era. [7] Cast [ edit] Carol Duarte as Eurídice Gusmão Julia Stockler as Guida Gusmão Gregorio Duvivier as Antenor Bárbara Santos as Filomena Flávia Gusmão as Ana Gusmão Maria Manoella as Zélia Antônio Fonseca as Manuel Gusmão Cristina Pereira as Cecília Gillray Coutinho as Afonso Fernanda Montenegro as Present-Day Eurídice Gusmão Release [ edit] The film had its world premiere at the 2019 Cannes Film Festival on 20 May 2019. [3] It will be released in Brazil first in the Northeast Region on 19 September 2019, and on 31 October 2019 in the rest of the country, by Sony Pictures and Vitrine Filmes. [8] In 20 August 2019, Amazon Studios acquired the North American rights to the film. [9] Reception [ edit] Critical response [ edit] On the review aggregator website Rotten Tomatoes, the film holds a 92% approval rating based on 59 reviews, with an average rating of 7. 47/10. [10] Guy Lodge of Variety praised Karim Aïnouz's "singular, saturated directorial style" and called the film "a waking dream, saturated in sound, music and color to match its depth of feeling. 11] Writing for The Hollywood Reporter, David Rooney praised the film, commenting, Despite its many depictions of cruel insensitivity, quotidian unfairness and chronic disappointment, The Invisible Life of Eurídice Gusmão is a haunting drama that quietly celebrates the resilience of women even as they endure beaten-down existences. 12] See also [ edit] List of submissions to the 92nd Academy Awards for Best International Feature Film List of Brazilian submissions for the Academy Award for Best International Feature Film References [ edit] "The Invisible Life of Eurídice Gusmão. Box Office Mojo. IMDb. Retrieved 20 January 2019. ^ A Vida Invisível. Vitrine Filmes. Retrieved 1 September 2019. ^ a b "The Screenings Guide 2019. Cannes Film Festival. 9 May 2019. Retrieved 9 May 2019. ^ Hopewell, John (8 August 2016. RT Features' Rodrigo Teixeira, Karim Aïnouz Re-Team for 'The Invisible Life of Eurídice Gusmão' EXCLUSIVE. Variety. Retrieved 24 April 2019. ^ Cannes festival 2019: full list of films. The Guardian. 6 May 2019. Retrieved 1 September 2019. ^ Lodge, Guy (24 May 2019. Brazil's 'Invisible Life of Eurídice Gusmão' Wins Cannes Un Certain Regard Award. Retrieved 24 May 2019. ^ a b Mango, Agustin. "Oscars: Brazil Selects 'The Invisible Life of Euridice Gusmao' for International Feature Category. The Hollywood Reporter. Retrieved 28 August 2019. ^ Zanetti, Laysa (26 August 2019. A Vida Invisível adianta lançamento em mais de um mês, apenas no Nordeste, visando o Oscar. AdoroCinema (in Portuguese. Retrieved 27 August 2019. ^ Wiseman, Andreas (20 August 2019. Amazon Studios Buys U. S. Rights To Cannes Winner & Brazilian Oscar Hopeful 'The Invisible Life Of Eurídice Gusmão. Deadline Hollywood. Retrieved 27 August 2019. ^ The Invisible Life of Eurídice Gusmão (2019. Rotten Tomatoes. Fandango. Retrieved 15 January 2020. ^ Lodge, Guy (25 May 2019. Film Review: The Invisible Life of Eurídice Gusmão. Retrieved 27 August 2019. ^ Rooney, David (20 May 2019. The Invisible Life of Euridice Gusmao. A Vida invisivel de Euridice Gusmao. Film Review. Retrieved 27 August 2019. External links [ edit] The Invisible Life of Eurídice Gusmão on IMDb.
May 25, 2019 9:33AM PT This year's Cannes Un Certain Regard winner is a nourishing melodrama elevated by Karim Aïnouz's singular, saturated directorial style. A “tropical melodrama” is how the marketing materials bill “The Invisible Life of Eurídice Gusmão. ” If that sounds about the most high-camp subgenre ever devised, Karim Aïnouzs ravishing period saga lives up to the description ? high emotion articulated with utmost sincerity and heady stylistic excess, all in the perspiring environs of midcentury Rio de Janeiro ? while surprising with its pointed feminist politics and occasionally sharp social truths. Anyone already familiar with Aïnouzs work will know to expect a florid sensory experience, but even by the Brazilians standards, this heartbroken tale of two sisters separated for decades by familial shame and deceit is a waking dream, saturated in sound, music and color to match its depth of feeling. From the first, jungle-set shot, the redoubtable d. p. Hélène Louvart gives the film the daubed, traffic-light palette of a ripe mango; were it possible, youd expect it to have an aroma to match. Having scooped the Un Certain Regard Prize in Cannes, “Eurídice Gusmão” is now strongly positioned to attain a degree of global arthouse exposure that has thus far eluded Aïnouzs work, for all its soulful beauty. Though some judicious trimming to the new films sprawling 139-minute runtime wouldnt have gone amiss, its by far his most broadly crowd-pleasing and emotionally accessible narrative feature to date. Thankfully, those virtues come at little cost to the inclusive queer sensibility that has characterized much of the directors oeuvre, even if its narrative ? drawn from Martha Batalhas popular, widely translated 2016 novel ? is ostensibly straight in multiple senses. More than one kind of sisterhood powers a story in which female solidarity, in a world of male oppression and manipulation, proves a life-saving force. A woozy Amazonian prologue economically foreshadows the full, anguished drama to come, as the teenaged Eurídice (Carol Duarte) and her older sister Guida (Julia Stockler) lose sight of each other in the rainforest as they make their way home, ahead of a storm in the deep-pink sky. With their cries of each others names swallowed by their thick, iridescent surrounds, the scene feels like an unworldly nightmare, one we can imagine recurring in both womens minds once fate separates them for real. Its 1951, and both sisters have designs on life far away from their rule-bound family home in Rio, run by their father Manuel (Antonio Fonseca) with a mean misogynist streak. Good girl Eurídice, a classical piano prodigy, yearns to escape and master her art at the Vienna Conservatory; good-time girl Guida, whose gifts are less obvious, must hustle out her own way to see the world. And so she elopes to Europe with a dishy Greek sailor, only notifying her appalled parents by letter after the fact, and promising to return after her marriage. Return she does, and all too soon: Sailors will be sailors, after all, and the swift collapse of her maritime fling leaves Guida alone and pregnant, only for the embittered Manuel to deny her sanctuary. Disowning a daughter in need is bad enough; more cruelly still, he tells a lie to keep the sisters apart, claiming that Eurídice has left to pursue her dream in Austria. Would that were true. Instead, Eurídice remains grounded in Brazil, her ivory ambitions slipping away as she settles into an unfulfilling marriage to Antenor (Gregório Duvivier) a boor cut very much from the same drab cloth as her father. And so Aïnouzs film itself finds a rhythm of undulating, fado-toned melancholy as it follows the sisters across the years, so close and yet so far apart, on separate paths that inadvertently circle each other without ever quite intersecting. Guidas frequent letters to Eurídice, imagining and envying the life of a glamorous Continental concert pianist, are relayed in voiceover, a running device that forms the films plaintive psychological chorus ? as years and then decades go by without a reply, the missives become an intimate confessional diary as much as anything else. Aïnouz amps up the aching tragedy and dramatic irony of the situation to full melodramatic volume, with a sumptuous assist from Benedikt Schiefers score ? itself supported with evocatively chosen classical piano pieces by Chopin and Liszt. One superbly choreographed set piece, seeing the sisters miss each other by seconds in a Rio cafe, is agonizing and manipulative in all the right ways. But “Eurídice Gusmão” isnt just a symphony of misery. Flashes of joy and comradeship enter proceedings as Guida builds a new life for herself in Brazils slums, with wily, kindly prostitute Filomena (Bárbara Santos) as her new guardian angel; she may weather harder knocks than her sister, but finds her own kind of happiness. In this sense, Aïnouz has made both a testament to the resilience of women in a society stacked against them ? there are no good men to be found in its vision of toxic patriarchy ? as well as a stirring celebration of the families we create when the ones were born into fall away. In a film of grand emotional gestures, the richness of “Eurídice Gusmãos” images and soundscape is entirely appropriate: No one here is permitted to suffer in silence, much less in ugliness. Louvarts lensing, awash in hues and forms that feel sun-ripened into a lush, squishy haze, is a constant marvel here, while Rodrigo Martirenas pattern-splashed production design and Marina Francos thriftily expressive costumes play into the films spirit of earnest excess. Itd be easy for the films leads to be lost in all that mise en scène, but Duarte and Stockler (the former stoic but steadily undone, the latter a firework gradually settling into zen calm) play their big, curving character arcs with lively gusto. Best of all, a late, piercing cameo from 89-year-old Brazilian grande dame? Fernanda Montenegro ? Oscar-nominated 20 years ago for “Central Station, ” her face deeply storied and closely examined ? cathartically gathers all the films loose strands of feeling to weep-inducing effect. Aïnouzs latest film plays its audience like a violin, but when the music is this lovely, why should he not? When youre a production designer, and your mood board is the mental state of the films lead character, it seems like the creative world is your oyster. When the lead character is Margot Robbies Harley Quinn, thats a creative world where all bets are off. “I approached everything through her ditzy, glitzy, analytical, yet throwaway. To open with an establishing drone shot has become something of a cliché for lower-budget films looking to create a sense of scale inexpensively, but in Argentinian director Verónica Chens fifth narrative feature “High Tide, ” the choice feels unusually apt. The camera glides frictionlessly over an opaque turquoise sea, breakers foaming at its edges, and. The Directors Guild of America and the Alliance of Motion Picture and Television Producers have agreed to enter into formal contract negotiations for a successor deal to the DGA master contract on Feb. 10. “The DGA and the AMPTP have also agreed that neither organization will comment to the media, ” the organizations said Tuesday. The. Liza Minnelli was only 25 years old when she won an Oscar for her work as Sally Bowles in Bob Fosses film adaptation of the Broadway musical “Cabaret. ” But after the films release and six months before the Academy Awards were handed out, the two collaborated again ? this time on “Liza With a Z. A key witness in the Harvey Weinstein trial took the witness stand for a third day on Tuesday, a day after the trial was halted when she broke down in sobs during cross-examination. Jessica Mann, who claims that Weinstein sexually assaulted her on two separate occasions, testified that she also caught Weinstein trying to film. In the ten years since the Guild of Music Supervisors was formed, the organization has come a long way. Granted, the job still involves low pay, long hours and little respect, but at least the craft has been validated with Grammy and Emmy categories introduced by the Recording Academy and the Television Academy, respectively. ] Former AMC Studios executive Rick Olshansky has joined Verve talent agency in the role of special advisor. Olshansky will help the agency run its business operations and represent Verve on dealmaking with outside entities. The literary-focused agency is marking its 10th anniversary this year. “Ricks invaluable industry experience will help Verve centralize its legal/business affairs.
Martha Batalha Eric M. B. Becker (Translator) Oneworld Publications ( Oct 10, 2017) Hardcover 25. 99 ( 240pp) 978-1-78607-172-9 Baltalhas debut is earthy and witty, with heroines who are memorable and inspiring. Martha Baltalhas debut novel, The Invisible Life of Euridice Gusmao, follows two sisters as they come of age in 1940s Rio de Janeiro. Euridice is the younger and more serious of the pair, while Guida is the elder, a self-assured beauty determined to have her way, even when determination turns to disappointment. Guida enchants the son of a prominent local family, but his parents disapprove of the relationship and cut him off. The affair ends badly, leaving Guida pregnant, alone, and forced to rely on her ever-increasing street smarts to make a life for herself and her baby. Euridice, on the other hand, attempts to be the good daughter in her family, marrying a man she feels less than thrilled about for security and respectability. Euridices keen intelligence and varied talents are suppressed by her bourgeois parents; like many women of her era, she accepts domesticity and motherhood as part of her fate. She feels that marriage is something “endemic, ” to be endured, like having the flu. Though the novel has an underlying tone of subtly wry humor, this does not lessen the depth of the narrative. Euridices obsessive outlets for her thoughts and energies?first a passion for cooking, and then a home-based dressmaking business?are engagingly related, if they are ultimately quashed by her husbands disapproval. Euridice turns her passion to literature, typing away for hours at her mysterious opus, The History of Invisibility. The novel spans from late nineteenth century Rio to the early 1960s, detailing the tenacious poverty of Estácio, the bland middle class of Tijuca, and the more cosmopolitan Ipanema. Baltalha writes with a vivid resonance, creating distinctive characters in Euridice and Guida, the motherly prostitute Filomena, and Zélia, Euridices spitefully snoopy neighbor. While many of the womens fathers, husbands, sons, and lovers act in domineering or destructively weak-willed ways, they often seem to be more products of their culture and time than outright villains. The Invisible Life of Euridice Gusmao is earthy and witty, and the lives of its heroines of everyday existence are memorable and inspiring. Reviewed by Meg Nola September/October 2017 Disclosure: This article is not an endorsement, but a review. The author of this book provided free copies of the book to have their book reviewed by a professional reviewer. No fee was paid by the author for this review. Foreword Reviews only recommends books that we love. Foreword Magazine, Inc. is disclosing this in accordance with the Federal Trade Commissions 16 CFR, Part 255. 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Amazingly beautiful movie. Very Wong Kar Wai -esque in terms of colors, pacing, and use of frames. Nevertheless original in its characters emotionally developing scenes. I thought the shot of the sisters dancing was one of the most beautifully done scenes Ive ever seen. Directed by Karim Aïnouz A saga of sisterhood for the ages, Madame Sata director Karim Aïnouzs sensual ‘tropical melodrama won top prize at this years Cannes Un Certain Regard section. 140 minutes ? DCP R16 Sexualised nudity, drug use & sex scenes Brazilian director Karim Aïnouzs glorious Un Certain Regard winner richly renders the myth and the making of two spirited sisters who grow up inseparable before each taking very different paths. Living years in the same city without ever knowing it, the tension of whether they will find each other or not hangs exquisitely over this sumptuous film. “Lustrous textures, boldly saturated colors and lush sounds serve to intensify the intimacy of… Aïnouzs gorgeous melodrama about women whose independence of mind remains undiminished, even as their dreams are shattered by a stifling patriarchal society… The film hinges on a heartbreaking separation that causes decades of yearning and unanswered questions. But its supple moods are far more complex than that narrative core might suggest, winding through passages by turns seductive and sorrowful, tender and raw. [The story is] enveloped in the characteristically Brazilian feeling of melancholy known as saudade, yet sustained by a sense of warmth and solidarity that seems present even when all physical connection between the central characters has been broken. A deep love and respect for women ? sisters, mothers, female friends who become family surrogates ? and a somber acknowledgment of the wrongs they absorb informs every scene… The Invisible Life of Euridice Gusmao is a haunting drama… Aïnouzs expert modulation of tone ensures that the… film keeps surprising us with new turns, frequently marked by ravishing use of Schiefers score, combined with piano passages from Liszt, Grieg and Chopin. ” ? David Rooney, Hollywood Reporter.
Parabenizando Karin Ainouz e todos de A Vida Invisível, estamos divulgando este treiler no blog da ecologia e da cidadania (também no Facebook na time line antonio padua silva padinha) matéria em.











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