Capitães da Areia

Capitães da Areia

About the life and adventures of a gang of abandoned street kids known as Capitães da Areia (Captains of the Sands), in Salvador, Bahia, during the 1950s.

About the life and adventures of a gang of abandoned street kids known as "Capitães da Areia" (Captains of the Sands), in Salvador, Bahia, during the 1950s. . You can read more in Google, Youtube, Wiki


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Capitães da Areia torrent reviews

Ethan P (it) wrote: Beasts of the Southern Wild was a unique and visceral experience. It's a tale of poverty and perseverance, a poetic illustration of youth. It has a desperate, determined energy and a wild, rugged look. There were many things I liked about this film, one of them being its minimalism and simplicity. There isn't a lot of dialogue or an overabundance of characters or setting. Hush Puppy's performance is incredible as a resilient little girl who survives through a terrible situation. This film has an angry realism and amazing imagery. The beasts thawing from the icecaps and running to meet her, the girl's hiding in a cardboard box from the fire and the community's fireworks celebration are all powerful. I didn't totally understand if this film had an environmentalist message, or if this girl was just trying to understand her place in the world. This a film filled with a ton of interesting ideas and no concrete answers.

Gimly M (de) wrote: I think this movie copped a lot more flak than it deserved, and honestly, I liked it better than Death Race (which also copped more flak than it deserved), or Death Race 2000 (the 1975 film the former two are based on, which is not as good as people say it is). Though it was sad not to see Statham in the film, Luke Goss did an excellent job of picking up the reins of protagonist. So far I can honestly say I've loved everything I've seen that Goss has done to date (Hellboy 2: The Golden Army, Blade 2, Tekken, Fringe and The Dead Undead). Also Sean Bean (of Boromir from The Lord of the Rigs fame) and Danny Trejo (From Dusk till Dawn, The Devil's Rejects, Rob Zombie's Halloween, Predators and Machete) are both always money well spent in my books. I was doubtful that Death Race warranted any furthering in its franchise, given that it was a quasi sequel to Death Race 2000 to begin with. Honestly though, after having seen Deathrace 2, which was made for only a tenth of the cost of Death Race, I'm quite glad they did. It may be just another action movie, but it's got great re-watch value, which is what I most admire in a film. That's not to say it's not without fault. I had to watch the film through twice before I really understood half of the characters motives. Ving Rhames is a terrible actor, how he keeps getting work is beyond me. Though thankfully his role as Mr. Weyland (hopefully this was a deliberate throw back to Alien, and they don't honestly expect us to believe they come up with it themselves) who owns (but doesn't run) the Terminal Island Prison, is a minor one. Goss's love interest wasn't quite as annoying, but the navigator really didn't do it for me. She was even worse then the navigator from Death Race, which is bad.The actual "Death Race" part of Death Race didn't come up until half way through the film, which I'm sure caused plenty of people a lot of grief, but seriously, this is what I like to see from an origin story, the origin. World is bad, prisons get full, corporations buy prisons, prisons make money, not enough money, prisoners riot, rioters die, news coverage of deaths make money, prisoners fighting to death becomes reality show, reality show loses popularity, change fight to death to fight to death in cars, fight to death in cars makes money. Simple. Now we know. It doesn't matter how good the film itself may be, I'm sick of movies like Rise of the Lycans, The Scorpion King, Exorcist: The Beginning, Ginger Snaps Back: The Beginning and Paranormal Activity 2, (most of which were crap by the way) that advertise they will let you "see how it all began", and they don't! Sure, maybe you find out how SOMETHING began, but it doesn't take you all the way back. At least Chains of Olympus and Gods of the Arena are upfront that they're only prequels, not "Origin Stories".I can't decide which order to suggest to people you should watch this franchise in. Honestly I say give Death Race 2000 a miss all together, but do you watch them in the order they were released, or their set chronology? I'm thinking #1 then #2, but I'll never know which would be better. I just say to do it that way, because you'll be less disappointed by the absence of almost every character from the prequel in Death Race if you watch them that way around. 14K is still around, and so is Lists, but that's really it. The films got one of the best soundtracks I've come across in a while, but other than that there isn't anything particularly special. Still, it's a Hell of a lot of fun.69%-Gimly

Sofia B (jp) wrote: In one word - strange.

Pablo D (mx) wrote: MUYYY simpatica, buena ejecucion... muyy profesional!!!

Zahi S (mx) wrote: I was so in love with this movie. I'm the type who sees things in dreams too. Also, the music was wonderful. I learned to play Chopin's Berceuse because I couldn't get enough of listening to it. Then I completely forgot it. Now, as it is so applicable to my life, I only remembered it when I found the soundtrack CD in my collection.

Ola G (es) wrote: During a labour strike in the early 1950's in the gritty streets of Brooklyn, Harry Black (Stephen Lang), the leader of the strike office falls suddenly in love with a sensual transvestite and while he struggles to deal with this swift change in his life, his wife and child are neglected at home. On the same streets Tralala (Jennifer Jason Leigh), a lost soul who works as a hooker, tries to trick soldiers and other drunken males of their money. Intertwined with Harry and Tralala, other people in the same neighbourhood struggles with various personal problems and issues. The connecting thread is the desperation for love and confirmation... "Last Exit to Brooklyn" is a 1964 novel by American author Hubert Selby, Jr. The novel has become a cult classic because of its harsh, uncompromising look at lower class Brooklyn in the 1950s and for its brusque, everyman style of prose. Although critics and fellow writers praised the book on its release, "Last Exit to Brooklyn" caused much controversy because of its frank portrayals of taboo subjects, such as drug use, street violence, gang rape, homosexuality, transvestism and domestic violence. It was the subject of an important obscenity trial in the United Kingdom and was banned in Italy. There had been several attempts to adapt "Last Exit to Brooklyn" into a film prior to this version. One of the earliest attempts was made by producer Steve Krantz and animator Ralph Bakshi, who wanted to direct a live-action film based on the novel. Bakshi had sought out the rights to the novel after completing Heavy Traffic, a film which shared many themes with Selby's novel. Selby agreed to the adaptation, and actor Robert De Niro accepted the role of Harry in Strike. According to Bakshi, "the whole thing fell apart when Krantz and I had a falling out over past business. It was a disappointment to me and Selby. Selby and I tried a few other screenplays after that on other subjects, but I could not shake Last Exit from my mind." In 1989, director Uli Edel adapted the novel into a film. The screenplay was written by Desmond Nakano. Selby made a cameo appearance in the film as the taxi driver who accidentally hits the transvestite Georgette (played by Alexis Arquette). Mark Knopfler of Dire Straits provided the film score. The film version received excellent reviews and won a few critics' awards for Leigh's portrayal of Tralala, though its limited distribution and downbeat subject matter prevented it from becoming a commercial success. Ralph Bakshi referred to Edel's film as being "like a hot dog without mustard," saying that the film "was done horribly." "Last Exit to Brooklyn" puts the focus on love and the strong bond between humans, both in love relations and in family relations. The film handles also violence and the weak human nature when instincts takes over. The violence is harsh and unjustified/brutal as in real life, which is also a strength in the movie. The gang-rape of Tralala is truly emotionally strong and difficult to watch. Both Stephen Lang and Jennifer Jason Leigh is at the top of their A-game. The general vibe is gritty, dangerous, dirty, ugly and dark plus that the movie carries an "authentic" stamp all over it. Despite the fact that the movie sometimes feels a bit over theatrical. I reckon due to the fact that the director wanted to include all the different storylines and characters in the book, we get a bit of a uneven story since some characters and their stories are not as strong as Harry and Tralalas descend into darkness. "Last Exit to Brooklyn" is a powerful piece of film for sure and it gives us a different vision of the 50s, normally portrayed as colourful and glitzy. The movie challenges you to think about the universal things in life, about humanity and the actions taken.

jen m (jp) wrote: nice symbolism in this film. well-directed.

Daniel O (us) wrote: Has everything u could want in a movie!

Jay B (de) wrote: Pretty charming little Sandler pic, even with its overly emotional moments.

Andrew B (nl) wrote: I had no idea going into Candy what I was in store for with this movie. Heath Ledger in a movie about heroin, I figured it was worth a shot since I am a fan of his. Candy at its basic is a love story about two heroin addicts trying to remain happy while feeding their addiction by just about any means necessary. In most drug related movies anytime they show one of the characters going through heroin withdrawal it is usually a little bit overboard and overblown as in The Basketball Diaries. But Candy is pretty spot on when it came time for that scene. A very disturbing sequence where the couple in the film decides they are going to kick heroin cold turkey and buckle down for what is about to hit and hit really hard. I would classify the movie overall is pretty emotional, but rather boring. Ledger is great as he normally is, and Abby Cornish is very stellar as well. The two work well together, but there just is not enough substance there to make this a great film.