Caio Junqueira Movies

For decades, the South American metropolis of Rio de Janeiro, Brazil, has clocked in as staggeringly lethal. Its violence-scarred and blood-strewn ghettos (or "favelas") are regularly patrolled by crazed drug gangs whose open-fire battles with police often spread out onto the main thoroughfares and turn ordinary civilians into casualties. In response, the Brazilian government formed a crack paramilitary force known as the BOPE (Batalhão de Operações Policiais Especiais, or Special Police Operations Battalion) to take matters into its own hands. Now, director José Padilha's social-consciousness drama Tropa de Elite carries viewers inside of BOPE for a scathing indictment of the cycle of violence that permeates Brazilian society, scripted by 12-year-plus BOPE veteran Rodrigo Pimentel. Wagner Moura (Hector Babenco's Carandiru) stars as Captain Nascimento, the leader of a BOPE unit who is seriously considering retirement in the face of his impending fatherhood. In an effort to pick his successor, he looks to two younger recruits, part-time law student André Matias (André Ramiro) and the bellicose hood Neto (Caio Junqueira) -- but soon recognizes that these naïve men will need to seriously mature before one can take the reins. Inevitably, the events that each encounters on the roughshod Brazilian streets -- particularly a trip to clean up some of the neighborhoods in anticipation of the pope's visit -- begin to shape and redefine them in ways that neither can even begin to anticipate. Meanwhile, BOPE grapples with its own internal problems -- particularly the extreme corruption and underhandedness of each squad leader, whose sideline activities range from resupplying weapons to gangs to the racketeering of strip clubs. ~ Nathan Southern, Rovi

A young man is forced to choose between family tradition and his own dreams and desires in this drama from Brazilian filmmaker Walter Salles. In 1910 in a remote farming community, two families, the Breveses and the Ferreiras, both of whom earn their living growing sugar cane, have been squabbling over the ownership of a piece of land for years. The disagreement turned violent some time back, and after the first shot was fired and blood was spilled, the other family insisted upon killing the gunman as a matter of honor. The second shooter was then killed for the same reason, and ever since the two clans have been trading off murders in the name of familial honor and justice. The Breveses, who are a much smaller family, have been suffering a great deal more than their rivals thanks to this feud; a steady drop in sugar prices has also left the family with little but their pride. When Inácio, the first-born son of the Breves family, is shot down, his father (José Dumont) orders his next-oldest son, Tonho (Rodrigo Santoro), to kill one of the Ferreira boys after the traditional month-long waiting period. Tonho finds himself questioning the wisdom of this bloody rivalry, and he ponders his fate while spending time with his younger brother (Ravi Ramos Lacerda), whom his parents never bothered to name. As Tonho ponders his fate, a small traveling circus comes to town; Tonho and his brother are soon caught in the spell of Clara (Flavia Marco Antonio), a beautiful circus performer who befriends the young boy and nicknames him Pacu, while Tonho finds himself falling in love with her, and longing to travel the country at her side. Abril Despedacado won the Little Golden Lion award at the 2001 Venice Film Festival. ~ Mark Deming, Rovi

Former documentary filmmaker Walter Salles (Foreign Land) directed this Brazilian-French road movie tracing the travels and travails of a young boy and an aging woman across the Brazilian landscape. In Rio de Janeiro's central railroad station, callous Dora (leading Brazilian stage/screen actress Fernanda Montenegro) works at a stand where she writes letters for a parade of poor and illiterate. Some of these remain undelivered because she chooses not to mail all of the letters. One of her customers is a woman whose nine-year-old son, Josue (Vinicius de Oliveira), hopes to see the father he has never met, but after the mother dictates two letters to the father, she's killed when hit by a bus. Since Josue is left homeless, Dora reluctantly takes him home to her small apartment overlooking the railroad tracks, where she sometimes spends time with her neighbor Irene (Marilia Pera). Dora places Josue with people who claim to find adoptive parents. When Irene informs her they actually sell children who are then killed for their organs, Dora rescues Josue, and the two board a bus. After a failed attempt to abandon Josue at a roadside stop, Dora and Josue hitch a ride from a religious truck driver. Failing to locate his father, they arrive penniless at a huge rural religious convocation, where Josue suggests Dora bring her letter-writing skills back into play. The notion works, and Dora profits by writing letters to saints for the more devout among the assembled multitudes. Continuing on, they arrive at a sprawling-mass housing development -- and hopefully, a solution to the problem of a family for Josue. Young actor de Oliveira was a shoeshine boy who beat out more than 1,500 other children who auditioned or were interviewed for the Josue role. Made with grants from the Sundance Institute, NHK, and the French Ministry of Culture, this film was shown at 1998 film festivals (Sundance, Berlin). ~ Bhob Stewart, Rovi