Kátia Lund Movies

Omnibus films attained renewed popularity during the 1990s and 2000s; this particular seven-episode film-a-sketch arrived during that period, and involved several top-tiered international filmmakers including John Woo, Spike Lee, Ridley Scott, Emir Kusturica and three others. Each helmer was asked to shoot a segment of between 16-18 minutes in length, for UNICEF, on the subject of exploited and/or underprivileged children around the world. The package opens with "Tanza," helmed by Algerian novelist-cum-filmmaker Mehdi Charef and shot in Burkina Faso. It concerns the 12-year-old female title character - an adolescent freedom fighter - who trollops through the countryside accompanied by young male guerilla fighters who spout off deliberately nonsensical English-language dialogue. Kusturica takes the reins for the second segment, "Blue Gypsy," an overtly comical episode in the vein of Time of the Gypsies about a precocious young boy who makes the split from his alcoholic father and thieving family and goes to live in a juvenile detention center, finding it preferable to home. The third episode, helmed by co-producer Stefano Veneruso and entitled "Ciro," recalls neorealismo with its Naples-set tale of a young boy unloved and systematically neglected by his mother, who resorts to spending time with other neglected children and stealing watches, and then gets caught in the direst of ways. The fourth segment, Spike Lee's delicately-handled "Jesus Children of America," stars Hannah Hodson as Blanca, a young Brooklynite ostracized by her peers because her parents are junkies; when she learns of her HIV-positive status, her world crumbles. For the 5th episode, "Bilu and Joao," Brazilian director Katia Lund casts child actors Francisco Anawake de Freitas and Vera Fernandes as two impoverished tykes whose days involve walking around the outskirts of Sao Paulo and pulling a wooden cart, into which they pile aluminum and paper - but do so joyously, with the courage and grace of two individuals delighting in subhuman work despite the direst of circumstances. For the sixth segment, "Jonathan," Ridley Scott teams up to co-direct with daughter Jordan Scott; the episode stars David Thewlis (Naked) as an emotionally-traumatized war photographer who encounters a band of Eastern European orphans. And the closer, John Woo's "Song Song and Little Cat," studies the contrast between the lives of two young Asian girls from polar opposite ends of the socioeconomic spectrum: Oi Ruyi is Little Cat, an abjectly impoverished child discovered in the garbage, during infancy, by a homeless man; she grows up helping her discoverer forage for victuals until he dies, leaving her aimless and bereft. Woo cuts between her story and that of Song Song, a wealthy and pampered little girl whose story is equally tragic in its own way, as her parents are undergoing a bitter divorce. Though this film, as indicated, enlisted the support of at least two major Hollywood directors (Scott and Lee) it did encounter extreme difficulty securing U.S. theatrical and ancillary distribution, which effectively kept it out of North America in the years that immediately followed its global release. ~ Nathan Southern, All Movie Guide

The filmmaking team that stunned viewers with City of God returns with this series about two teenage boys coming of age in the dangerous slums of Rio de Janeiro. Laranjinha (Darlan Cunha) and Acerola (Douglas Silva) are two 13-year-old boys who have made their home in a small shantytown in the mountains of Rio. Though life can be hard in such a volatile environment, their spirits are strong and serve well to help the pair endure even when it seems that all hope is lost. ~ Jason Buchanan, All Movie Guide

The legendary Brazilian songsmith Gilberto Gil supplies the score for this reality-based comedy, in which an independent-minded woman decides that if one live-in husband doesn't fulfill her needs, she can always add more. The film begins when Darlene (Regina Case) returns to her small, dusty hometown in northern Brazil to receive her mother's blessing for her for young son Dimas. When she arrives, she finds that her mother has died; her funeral occurs the day Darlene arrives. Despondent over her new predicament, she accepts an extemporaneous marriage proposal from her neighbor Osias (Lima Duarte) and moves in with him. It becomes clear to Darlene, however, that Osias wants little more than a live-in maid. Darlene becomes pregnant and bears a child -- who bears no resemblance to the light-skinned Osias. When Osias' cousin Zezinho (Stenio Garcia) comes to town and takes an immediate liking to Darlene, she doesn't turn him away -- before long, she's bearing his son as well. As the eager-to-please Zezinho takes over her housekeeping duties, Darlene decides that the one thing she's lacking in her life is true passion, and fills that void with a sugar cane worker named Ciro (Luis Vasconcelos), who moves in as well. Eu Tu Eles was purportedly inspired by a Brazilian news story about a woman in a similar alternative-living situation; the film screened at the 2000 Cannes, Tokyo, and Toronto Film Festivals before making its stateside premiere. ~ Michael Hastings, All Movie Guide