Babenco, Hector

Carandiru

The setting is grim, but Carandiru is easily one of Brazilian filmmaker Hector Babenco's most living, thriving works, with scores of powerful performances and an engaging style underscoring the cathartic power of storytelling. Based on a bestselling novel, Carandiru concerns an oncologist (Luiz Carlos Vasconcelos) who treats patients at Sao Paulo's House of Detention, a terrible place largely policed from within by longtime prisoners. The doctor is specifically interested in collecting blood samples for an HIV study, but the more prisoners open up to him, the more compassionate and committed he becomes about their survival. Babenco's episodic structure gives Carandiru a dimension of memory and constant shots of energy, so that even the most horrifying events--drug-related murder, rape, revenge--can't drive this tale into abject misery. Based on actual events, the drama's climactic police raid on the prison (a reconstruction of a 1992 riot called the Carandiru Massacre) is a tour de force. --Tom Keogh

Acclaimed international filmmaker Hector Babenco dramatically captures the powerful intensity of this true story of hope and survival inside Brazil's most notorious prison. Based on a true story of the day of the Carandiru massacre.

Pixote

Hector Babenco, who went on to direct the acclaimed Kiss of the Spiderwoman, made an international splash with this gritty portrait of juvenile poverty and street crime in Brazil. Pixote (Portuguese slang for "Peewee") is the name of a chubby-cheeked 10-year-old runaway played by real-life slum kid Fernando Ramos da Silva. He's a natural, creating a childlike and vulnerable character left emotionally hardened and morally adrift by his brutal experiences. In an overcrowded São Paulo "reform school," a cross between a prison and an army barracks, he learns the hard facts of survival as he watches gangs prey on weaker kids, and the cops and guards abuse, beat, and even murder their charges. Pixote escapes and turns to street crime in Rio with a small gang, but his dreams of big money and a good life are dashed as they play at crime in a violent kill-or-be-killed world. Equal parts exposé and social drama, Pixote dramatizes the plight of millions of children who live on the streets or get ground up in the system that breeds hardened criminals from juvenile delinquents. Like Luis Buñuel's Los Olvidados, one of Babenco's inspirations, this occasionally melodramatic portrait of poverty is shocking and affecting, but no more so than da Silva's own life story. After completing the film he sank back into poverty and crime, and died on the streets. His life became the subject of the 1996 film Who Killed Pixote?, which showed that despite the outcry created by Pixote, Brazil has done little to alleviate these conditions. --Sean Axmaker

Ironweed [Region 2]

Kiss of the Spider Woman

Kiss of the Spider Woman starts out simply enough, hemmed in by the narrow walls of a Latin American prison cell. Molina (William Hurt) is telling his new cellmate, Valentin (Raul Julia), his favorite story. Molina is a delicate homosexual imprisoned for seducing a minor; Valentin is a bearded revolutionary still bleeding from his interrogation. If their film unfolded into the typical prison buddy plot, it'd still be a good movie. But this is a great movie. There are stories twisting within stories, each drawing a new, surprising level of difference between the two heroes: escapism versus realism, romance versus politics, gay versus straight, hero versus coward. As their unstable friendship grows more real, their stories become more vivid--whether Molina's fondly remembered Nazi propaganda noir, Valentin's tortured romantic history, or a tropical island fable told merely to pass the time. (Each substory stars Sonia Braga, a neat bit of casting that further blurs the line between fantasy and reality.) By the end, each man has changed just enough to taste the other's tragedy--a transformation that gives each the strength to define freedom on his own terms, despite the brutality of the prison and the bleak world beyond its walls. --Grant Balfour

Ironweed

At Play in the Fields of the Lord

Missionaries travel to the Brazilian rain forest and make a mess of everything. What else is new? Actually, plenty in this dark but beautifully realized adaptation of Peter Matthiessen's well-regarded novel, directed by Hector Babenco. Aidan Quinn, Daryl Hannah, Kathy Bates, and John Lithgow play the Americans who travel to the Brazilian interior in an effort to do some good. But their definitions of good vary wildly; Bates and Lithgow are old-fashioned puritans who want to convert the heathens to Christianity and remove all traces of their own culture. Quinn and Hannah are more spiritually minded, hoping to make a connection and a cultural exchange with the Indians they encounter. In the end, they're all delusional, trapped in their own preconceptions. Downbeat but magical in its way, with sterling performances all around and amazing scenery, to say the least. --Marshall Fine

Carandiru [Region 2]

The setting is grim, but Carandiru is easily one of Brazilian filmmaker Hector Babenco's most living, thriving works, with scores of powerful performances and an engaging style underscoring the cathartic power of storytelling. Based on a bestselling novel, Carandiru concerns an oncologist (Luiz Carlos Vasconcelos) who treats patients at Sao Paulo's House of Detention, a terrible place largely policed from within by longtime prisoners. The doctor is specifically interested in collecting blood samples for an HIV study, but the more prisoners open up to him, the more compassionate and committed he becomes about their survival. Babenco's episodic structure gives Carandiru a dimension of memory and constant shots of energy, so that even the most horrifying events--drug-related murder, rape, revenge--can't drive this tale into abject misery. Based on actual events, the drama's climactic police raid on the prison (a reconstruction of a 1992 riot called the Carandiru Massacre) is a tour de force. --Tom Keogh