Tag Archives: brazil

Mangueira is 2019 Champion of Rio’s Carnival

7 Mar

Estação Primeira de Mangueira is the champion of Rio’s top samba schools for the 20th time in its illustrious history after scoring a perfect total of 270 in 2019. Second, with 269.7 points, was Viraduro which has only just returned to the elite competition.

The results of Rio’s Carnival Parade in 2019 were:

  • Mangueira (270 points out of 270)
  • Viraduro (269.7)
  • Vila Isabel (269.4)
  • Salgueiro (269.3)
  • Portela (269.3)
  • Mocidade Independente de Padre Miguel (269.0)
  • Unidos da Tijuca (268.8)
  • Paraíso do Tuiuti (268.5)
  • Grande Rio (267.9)
  • União da Ilha (267.7)
  • Beija-Flor (267.6)
  • São Clemente (267.4)
  • Imperatriz Leopoldinense (266,6)
  • Imperio Serrano (263.8)

You can read and learn more about Rio’s carnival on Critical Divide’s Rio: The Guide.

Photos courtesy of RioTur – the city of Rio Tourist Authority.

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The Division (A Divisão): A film by Vicente Amorim

11 Feb

One of the most highly anticipated Brazilian films of 2019, Vicente Amorim’s The Division (A Divisão), has been introduced to international buyers during the 2019 Berlin Film Festival.

Based and inspired by disturbing and shocking events that took place during the 1990s in Rio de Janeiro, The Division (A Divisão) is a dark, modern, violent, action-crime-thriller from the acclaimed Brazilian filmmaker, Vicente Amorim, and producer José Junior, Rio’s leading expert on urban violence and head of the NGO (and now production company) AfroReggae Audiovisual. The Division will receive a wide mid-2019 theatrical release in Brazil through Downtown Filmes and Paris Filmes, the companies behind the largest and most successful box-office releases in Brazil in recent years, and is being handled internationally by WTFilms that has introduced the film to the international buyers and distributors at the EFM during the Berlin Film Festival.

“The film is really about redemption, their redemption,” says Amorim, “ and what it is that sets our protagonists apart from the people around them. Although set in the 1990s, The Division is the genesis of what we are living through in Brazil today, with a President who defined his election campaign around violence. It is this need to move forward ­– regardless of the consequences and without measuring the risks – that represents a portrait of modern Brazil. The film reveals the inside of a machine that may start turning again at any moment.”

In the late 1990s, kidnapping became the crime of choice in Rio de Janeiro, with ten or more high profile cases each month. The population, at least those with money, were scared, and the authorities appeared paralysed as large ransoms were paid and some of the kidnapped were held for months or never returned. As corrupt police and officials looked the other way, justice was neither done or seen to be done, as the machine, and those linked to it, were funded by the money being generated from the kidnappings.

To stop the rot, and as a last resort, two police officers – one an incorruptible killing machine with over 100 kills to his name (played by Silvio Guindane); the other a dirty cop known for extorting money from the criminals (Erom Cordeiro) – were brought together and put in charge of Rio’s Anti-Kidnapping Division by the city’s Secretary for Public Safety & Security, a hard line general from the days of the military dictatorship, and his head of police, a socialist lawyer. The Division is their story and how by using very good intelligence and some questionable methods to solve the kidnappings, the two policemen come close to victory as the ends do seem to justify their means. But can too much intelligence be a dangerous thing? The film is based on the real events and the real people.

Amorim’s previous films have screened at, among others, the Toronto, Rotterdam, Karlovy Vary, Montreal, San Sebastian and Rio de Janeiro film festivals. They include the thriller Motorrad, selected for Toronto in 2017; the Brazil-Japanese co-production Dirty Hearts (Corações Sujos); the ethical thriller Good, with Academy Award nominee Viggo Mortensen, a film considered one of the ten best movies of 2008 by The Hollywood Reporter and Rex Reed (The New York Observer); and The Middle of the World (O Caminho das Nuvens) with Wagner Moura; as well as five successful television series.

Despite his work with Brazilian TV, Amorim has deliberately chosen not to cast well-known Brazilian television actors in The Division, as he wants the characters to be credible and real.

Working with the screenwriting team, and as a consultant on the film, is José Luiz Magalhães, a Rio police officer for over 30 years who led the actual team that ended the kidnapping wave in Rio de Janeiro. In The Division, his first work as a screenwriter, he tells his own story, and helps add essential context and the truth of what happened and who was involved.

“He is a brave man,” says Amorim. “As are all the people involved in this project. We have had to change names to keep people alive.”

Amorim was also helped on The Division by José Junior, Creative Director and CEO of AfroReggae Audiovisual (the film’s production company), who has created and produced several television series for channels in Brazil such as Multishow and GNT, including Urban Connections (Conexões Urbanas). He was also the producer of the multi-award winning documentary Favela Rising. The Division is AfroReggae Audiovisual’s first feature, and in Brazil it will also be expanded into a multi-part TV series for Globosat.

“José gave us the access to people and places, and opened doors to locations where the real action took place,” adds Amorim. “He also made sure that the weaponry and other details used in the film are correct.”

Junior has mediated in a number of armed conflicts in Rio in a search for peace, and he is considered a pioneer for his work in helping free people in the favelas from a life of drugs and trafficking while helping to re-socialize them. His extraordinarily brave work at AfroReggae has been recognised internationally.

The film reunites Amorim and WTFilms, the Paris based sales company successfully sold the director’s Motorrad.  “Vicente’s style is immediately recognizable. He has a strong visual signature and the grittiness that buyers expect on Brazilian genre and action films,” explain WTFilms executives Dimitri Stephanides and Gregory Chambet.

Other partners in The Division include the co-producers Hungry Man, an international production company with offices in Los Angeles, New York, London, São Paulo and Rio de Janeiro, and one of the world’s top production companies for commercials. Its short film Asad, was nominated for an Academy Award in 2013, and the company was nominated for an International Emmy this year for its five-part Words In Series (Palavras Em Série).

Co-producers include the successful Brazilian companies TV Globo, GloboFilmes, Globosat, GloboPlay, and the film’s Brazilian distributors, Downtown Filmes and Paris Filmes.

 

Brazil’s Film Industry Optimistic for 2019

9 Dec

Critical Divide learnt that panellists at Festival do Rio’s RioMarket  were unanimously optimistic for 2019 after what all agreed had been a difficult year in 2018 for distribution, exhibition and getting “bums on seats”.

Factors contributing to what is expected as being a disappointing year for ticket sales and revenues for theatrical releases included the World Cup, the Presidential Elections, and a truckers strike that almost brought Brazil to a halt for two weeks. Panellists also mentioned a disappointing line up of both domestic and international titles that failed to find or excite an audience in Brazil.

For nearly a decade Brazil had seen growth for theatrical releases. It had to stop at some point, so after eight consecutive years of increased ticket sales and revenues in Brazil, 2017 became the year of no growth, but the numbers were still very strong. As panellist Patricia Kamitsuji of Fox-Warner noted, head offices in the US were not complaining about the results they were seeing from Brazil.

Cinema admissions in Brazil had gone from 89.1 million in 2008 to 112.7m in 2009; 134.9m in 2010; 141.7m in 2011; 148.9m in 2012, the year Brazil hosted the FIFA World Cup; 151.2m in 2013; 157.2m in 2014; 170.7 million in 2015, to the record breaking 185 million in 2016, the year of the Rio Olympics. In 2017, no record, but still the very respectable sales of 183 million tickets were achieved, a drop of just 1.5%, compared with 2016, but still the second best year on record.

The decline, for the reasons already mentioned, is likely to be more marked in 2018 with only 127 million tickets having been sold up until the end of September, but the market is already showing signs of recovery in October and early November. Kamitsuji mentioned both “A Star is Born”, which has sold over one million admissions in four weeks, and “Bohemian Rhapsody”, which sold 500,000 tickets over its first weekend and has since passed one million admissions and grossed close to US$12 million.

Panellists noticed that what was more encouraging is that these two films did not fill the normal blockbuster form of an established franchise or action character. All panellists, however, noted that both for international and domestic Brazilian releases, it was the top ten releases that did really well, with the other 400 titles struggling and offering room for improvement.

The average occupancy rates of the 3,316 screens in Brazil, the majority in multiplexes, has been around 19%, and this is likely to have fallen to 18 or 17 percent in 2018. But capacity is a problem whenever a major blockbuster is released. The expansion of screens in Brazil, now back to the levels of 1975, has also slowed in 2018 and this was put down to the current economic climate in Brazil that saw a slowing in the expansion of shopping centres where new screens would be located. Shopping Centre screens are also the most successful in Brazil in terms of revenues and tickets sales.

2016 was also a record year for Brazilian productions with 30.1 million tickets sold during the year, grossing some R$354.8 million, or approximately US$112 million. Seven Brazilian films sold over one million tickets in 2016, with 15 productions selling between 100,000 and a million tickets.

In 2017 Brazilian films sold just 18.5 million tickets, a fall of 38.5%, grossing R$253 million, or approximately US$79 million, from the release of 154 domestic productions. Only four Brazilian films sold over one million tickets in 2017 lead by Cesar Rodrigues’ “Minha Mãe É Uma Peça 2” (My Mom Is A Character 2), starring TV and theatre comedian Paulo Gustavo, which grossed R$89.2 million (US$27.8m) in 2017, which when added to its year end revenue from 2016 saw the film’s total rises to R$124.2m (US$38.8m). Other Brazilian films to pass the one million admission mark in 2017 were “Polícia Federal – A Lei É Para Todos” (1.38 million), “Os Parças” (1.3 million) and “DPA – Detetives do Prédio Azul” (1.2 million). Brazilian films had a market share of 16.4% of admissions and 18.9% of revenues.

2018 is looking better for Brazilian films at the box office with a 37.7% increase in sales up to the end of September, a period in which tickets to international releases fell 14.1%. Rio de Janeiro remains the state with the highest market share for domestic Brazilian releases.

Overall the top grossing film of the year in Brazil in 2017 was “Fast & Furious 8: The Fate of the Furious” that grossed US$41.7m from tickets sales of 8.5 million. The rest of the top ten was made up of “Justice League” (US$41m / 8.4m); “Beauty and the Beast” (US$40.6m / 8.3m); “Despicable Me 3”  (US$39.3m / 8.89m, the highest ticket sales of the year); “Wonder Woma” (US$ 34.2m / 7m); “Spider-Man: Homecoming” ($32m /6.7m); “Thor: Ragnarok” (US$31.2m / 6.4m) “Logan” (US$28.5m / 6.4m); “Minha Mãe É Uma Peça 2” (US$27.8m / 6.5m in 2017 and 9.3m in total) and The “Shack” (US$22.4m / 5.1m).

So far in 2018 the ten top grossing film through 2 December are “Avengers: Infinity War”, that has grossed US$66.7m; “Incredibles 2” (US$37.6m); “Black Panther” (US$37m); Brazil’s “Nada a Perder” (Nothing To Lose – US$33m); “Jumanji: Welcome to the Jungle” (US$24m); “Jurassic World: Fallen Kingdom” (US$21.3); “The Nun” (US$20.5); “Fifty Shades Freed” (US$19.7m); Hotel Transylvania 3: Summer Vacation” (US$19.5); and “Venom” (US$19.0).”

The Brazilian comedy “Os Farofeiros”, by Roberto Santucci, is 17th in the year’s overall box office having grossed approximately US$9.8m and sold 2.6 million tickets.

Optimism for 2019 comes from an extremely strong expected slate of releases, both international and domestic, that have a proven track record of getting the fans in Brazil through the door and in to the seats. Panellists also saw a boost of national optimism when the new Brazilian President takes power at the start of January, a “feel good” factor that should last at least six months. There is also no World Cup or Olympic distractions in 2019, although Brazil will host the Copa America from 14 June to 7 July.

Among RioMarket’s optimistic panellists, spread across two panels, were Marcos Oliveira of Universal Pictures Brasil, Patricia Kamitsuji of Fox-Warner, Paulo Pereira of Cinépolis, Marcelo Bertini of Cinemark, Bruno Wainer of Downtown Filmes, Silvia Cruz of Vitrine Filmes, Luiz Severiano Ribeiro Neto of Kinoplex, Edson Pimental of Globo Filmes, Leonardo Eddie of Urca Filmes, and Luana Rufino of ANCINE. The moderators were Caio Silva of ABRAPLEX and Mariza Leão of Morena Filmes.

 

Follow Critical Divide on Social Media

3 Apr

You can now follow Critical Guide on Facebook. To find the page, http://www.facebook.com/TheCriticalDivide/, Click Here and like.

You can also keep up to date by following Critical Divide’s various Twitter accounts. These include.

Critical Divide: @CriticalDivide

Brazil The Guide & Rio The Guide: @RioDiary

World Cup The Guide: @WC_Guide_2018

St Helena: @StHelenaFocus

Ronnie Biggs: @RonnieBiggsNews

And don’t forget our various web sites that cover Rio, Brazil, the World Cup, the Oscars,  and Ronnie Biggs, to mention just a few.

Rio’s samba school parades in 2016

25 Jun

Beija flor 01

As reported in Critical Divide’s Rio: The Guide the draw has been made for main parades of the major Rio samba schools, the  Grupo Especial. The parades will take place on the nights of Sunday, 7 February and Monday, 8 February 2016. The order will be:

Sunday, 7 February 2016

  • Estácio de Sá
  • União da Ilha
  • Beija-Flor
  • Grande Rio
  • Mocidade Independente de Padre Miguel
  • Unidos da Tijuca

Monday, 8 February 2016

  • Vila Isabel
  • Salgueiro
  • São Clemente
  • Portela
  • Imperatriz Leopoldinense
  • Mangueira

Six schools will parade on Sunday night and six on Monday and they will start at 21.30, 22.35, 23.40, 00.45, 01.50 and 02.55.

Based on the results of the last six carnivals (2010-2015), the League of Samba Schools (LIESA) ranks the top ten samba schools in Rio de Janeiro as:

Unidos da Tijuca (95 points)
Beija-Flor (81)
Salgueiro (69)
Unidos de Vila Isabel (53)
Grande Rio (47)
Imperatriz Leopoldinense (34)
Portela (34)
Mangueira (29)
União da Ilha do Governador (17)
Mocidade Independente de Padre Miguel (16)

Rio Restaurant listings go live on “Rio: The Guide”

6 May

Azul Marinho 1

The Rio restaurant listings have now gone live on Rio: The Guide, the sister site to Brazil: The Guide, both of which are published by Critical Divide. The restaurants can be found in the Eating Out section of the Rio site, and are also listed by area and type.

There are an estimated 10,000 restaurants in Rio de Janeiro, so we have decided to give you a selection of the best and most interesting in the key areas of town.

We also list what the critics and general public consider to be the best in town.

The Rio site also has a full list of the hotels and hostels on offer in Rio de Janeiro as the city prepares to host the Olympic and Paralympic games in 2016.

Rock in Rio 2015 takes shape

27 Feb

RiR 05-2

The legendary Queen, stars of the first ever Rock in Rio in 1985 (photo), and Metallica are the latest acts to be added to the line-up for Rock in Rio 2015. Metallica last played Rock in Rio in 2013.

Queen and Metallica join other acts announced that include Katy Perry, who also performed in 2013, John Legend, A-Ha (that attracted a crowd of 198,000 in 1991, when the festival was staged at the Maracãna), System of a Down, Queens of the Stone Age (who played in 2001), Slipnot (who played in 2011), Faith No More (who played in 1991), and Hollywood Vampires, the new super group made up of Alice Cooper, Johnny Depp and Joe Perry.

The festival takes place between 18 and 27 September 2015 close to where the Olympic Village is being built.

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