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Critics noted several of the 21 films in competition were not world premieres, meaning the excitement surrounding them had come and gone. Of those that were first showings, many had been disappointing, they added. Critics argued that since then the festival has fallen flat, with only Day-Lewis and Cruz generating real buzz among fans. Lee said Berlin had lost ground in recent years to its European rivals, although a booming market for buying and selling movies had helped maintain big studio interest.

Lifestyle Updated. Leigh's comedy shows there's hope in a dark world. Moura concurs, It was like nothing I had ever witnessed! BOPE trained us as if we were actually going to put on their uniforms for life. They had never done anything like this either, but they strove for perfection, they were really tough! We would run in perfect alignment into the favelas not even an elbow would be out of place.

Moura continues, Sometimes, when we would be way in the background, a soldier would come over and adjust a detail or two. The training was really, really crazy. To this day, the soldiers on my team still call me Captain! The BOPE soldiers are really proud of that, they really pulled us together and made us a cohesive unit, Moura adds. The soldiers weren t the only ones giving orders.

Moura had an added element. The trainers would yell, You are the Captain. It s an experience no one will forget. It s the greatest thing on earth to be part of that select few. If you want to punish a BOPE official, all you have to do is take his badge away, he admits. The pride that you feel when you are a part of a group of people whose main discourse is to weed out the corruption that is plaguing today s society it s marvelous.

To be a BOPE officer is to become bulletproof. We are the cops that have the highest esteem for one another and for ourselves. We make the exact same amount of money as the regular military cops, but we have our dignity intact, he declares.

Padilha, as is customary, approached them before filming. Generally, you have to request a no objection waiver from the precinct that oversees the area in which you are shooting. In our case, they wouldn t sign it, he says. I looked at that as one more form of hypocrisy. I thought, There is no censorship in Brazil? What the cops need to evaluate is if it is safe for citizens to go up there and shoot, says Padilha.

In the end some open-minded military police officers won over the intolerant ones. The initial resistance ended when everyone understood that the film was not an adaptation of the book of the same name. They presented the copyright for the book and another one for the script. When the approval came in from the higher ranks the cops started collaborating with us, notes Padilha. We were always working on the edge of danger, dressed as cops inside the favelas, says Junqueira.

We had to wear vests with FILM CREW written on them over our uniforms while the cameras weren t rolling, but it was still very intense with the dealers watching us. Then one day all of the weapons were stolen. The robbery of the weapons paled in comparison to the kidnapping that accompanied it. Padilha explains, The film had to face the reality with which it was dealt. It became, essentially, a victim of its own thematic.

When one of our vans was sequestered, with crewmembers and most of the weapons we used as props inside, it took us two hours to find out what had happened. It was an insurmountable amount of stress for me. Part of my crew had been taken by force by criminals armed with hand-grenades and AR rifles!

When the van and crew reappeared unharmed, thank God, I had another huge problem to face: How do we go on from here? First of all, we had no weapons to shoot with. Moura adds, After our weapons were stolen we insisted on shooting at the Prazeres favela in the Santa Teresa neighborhood. He was convinced that the cops were going to invade his territory for our sake, as they did in order to investigate the previous theft.

In the middle of his tirade he demanded to know if we had brought a police officer into the Babilonia favela and cited a specific scene. He ordered one of his men to bring us a newspaper where it said that one of the suspects in the weapons theft was from his territory. I radioed over to our contact at the Neighborhood Community Center, but the guy wouldn t answer me. Then the drug lord said to us: Let s take a walk. I started hearing a ringing in my ears it was the adrenaline pumping through my veins.

I thought to myself, is he just going to kill the three of us? This is going to be a huge problem for him if he does. Moura continues, Suddenly, after trying our contact on the radio for the umpteenth time, he answers and comes immediately to our aid. That was one of our most intense moments. The cops had gone up into the favela to investigate the carjacking, making that location unusable.

I had to deal with many difficult moments. There was a shoot-out when we were striking our set in the Prazeres favela and one of my crew was almost hit. That got me thinking, If I push my luck and go back up there, I m going to die, reveals Padilha. The film was too dangerous for them.

It s an extremely volatile situation everything is a victim of hypocrisy in this city and the film crew was not able to overcome that either, Padilha admits. We told the heads of the Community Centers in the favelas that we wanted to shoot there, knowing that they would have to strike a deal with the drug-trade that occupied their area.

When our weapons were stolen, the dealers of other favelas said: wait a minute the cops invaded the communities where you ve been shooting, how do we know that they re not going to come up here? Rafael Salgado, my first assistant director, was a key player in re-organizing the crew. It was surreal. I went through five-straight sleepless nights. We stopped shooting for ten days! The crew became uncertain and anxious, asking me for some sort of guarantee, Padilha notes.

This is Rio de Janeiro there are no guarantees. With that they banded together. With the constant pressure hanging over all of us we ended up reinforcing our cohesive unit that ultimately took those risks because it understood the importance of the film. A lot of my colleagues have told me that no Brazilian film crew has ever been subjected to so much pressure.

Those people just kept on working strong, supporting me, going along with shooting in places that even the production management didn t recommend. I saw a lot of courage in the making of this film, Padilha says with pride. Also, to those university students, it s cool to smoke pot they don t think about the fact that they are financing the same guns that are used to retaliate against the cops that are there to protect them. The conflict between the different codes of ethics within these social groups and the hypocrisy are what is subjacent to the violence, notes Padilha.

The film is looking at this situation from the outside, through the eyes of an intelligent man, one who understands it and wants out. The film itself does not agree with Nascimento s position. What the film does want to propose is this: Look at what situation we are living in here.

Let s really think about this, remarks Padhila. Padilha chose a point of view that was similar to that of Pimentel and to other officers. There is an extreme amount of cynicism in the police force. They say, your film is awesome, but let s pretend that cops don t act in that way because I am one of them. My film is about an incompatibility between different social groups. In the film, the military police thinks that corruption is normal, he notes.

Fueling the corruption were the low wages. The cops found it difficult to fathom why BOPE soldiers would risk their lives by going up to the favelas to kill drug dealers. To BOPE officers, who do not tolerate corruption, the military cops are almost one more enemy, explains Padilha. Now it s about double that. At that time, BOPE had one hundred and twenty men in operation, now there are more than four hundred employed.

They re twenty to twentyeight-year-olds and super accelerated, because the training course basically brainwashes them, so that they begin to think of themselves as super-heroes. It s a strategy: if they don t feel like super-men, they won t go into a favela under-fire, it wouldn t work out that way, he reveals. How much has the situation changed since ? Pimental says, I know that the same old mistakes are still being made.

The drug-trade is anarchical and unpredictable. The worst conflicts that the press talks about are between drug-run gangs. That s why we went through what we did during the shooting. An Amnesty International Study Brazil: From burning buses to special armored vehicles: the search for human security, May 2, reports, Dependence on heavyhanded policing coincided with the sudden and dramatic rise in killings by police officers in situations officially documented as resistance followed by death or records of resistance.

Killings rose from in to in and in Among the few successes that the police force has celebrated, there are dozens of failures. If any police operation becomes the cause of a stray bullet, an innocent victim, or the closing of schools and stores in the neighborhood for days on end it s just wrong. Of course it s still important to incarcerate criminals in order to provide safety to the population. In law enforcement today this philosophy still has not been implemented, Pimentel contends.

What will solve the problem is each one of us looking at what happened in Rio de Janeiro and not blaming the state government, the President of the Republic, or the Mayor of the city, because what is happening is the result of historical errors, accumulated by Brazilian society as a whole, he declared. In October , President Da Silva was elected by a landslide to a second four-year term despite a series of corruption scandals.

Although there is hope that the President will make good on his promises to make public security one of his main focuses, the Amnesty report concludes, In Rio de Janeiro long term political negligence has allowed powerful vested interests to control events and quash reform. Profound corruption and criminality within the state s police and prison systems have blocked any meaningful, structural change to public security policy.

What has emerged is a complex mix of criminal, police and para-police violence. The city s most marginalized communities have never appeared so bereft of protection or abandoned by the state. People have to understand what the film is telling us, Junqueira says.

The movie was already so talked-about during its production. By the time they finished editing, the public s curiosity was already at its boiling point and then it just exploded, he notes. There are those who don t believe that, but not me. A film that generates such a large-scale discussion as this one, can only lead to some good.

It s making people think about the chaos we are living in. We are all victims in this story, but the people who are most harmed by this society are the simple workers and their families that live under the terrorist regimes that control the favelas. I make films so that a transformation and discussion can occur. What s the point of making any other type of film? Padilha asks. I made a film that mirrors a reality. The highest ranks of the police force have already given feedback recognizing that the film speaks the truth.

My beef is with hypocrisy. I have no qualms about going against that, he concludes. Although the law prohibits torture and provides severe legal penalties for its use, torture by police and prison guards remained a serious and widespread problem. Federal, state, and military police often enjoyed impunity in cases of torture, as in other cases of abuse. In many cases police officers employed indiscriminate lethal force during apprehensions.

In some cases a person s death followed harassment and torture by law enforcement officials. The law prohibits arbitrary arrest and detention; however, police continued at times to arrest and detain persons arbitrarily.

The law limits arrests to those caught in the act of committing a crime or those arrested by order of a judicial authority. While the justice system provides for an independent civil judiciary, courts were overburdened with significant backlogs, and sometimes could be subject to corruption, political influence, and intimidation.

Citizens have access to bring lawsuits before the courts for human rights violations. Privately owned newspapers, magazines, and a growing number of online electronic publications vigorously reported and commented on government performance. Both the print and broadcast media routinely discussed controversial social and political issues and engaged in investigative reporting. The law provides for freedom of assembly and association, and the government generally respected these rights in practice.

Ethical behavior of public figures continued to be a major issue during the year. The NGO Transparency International s index indicated a serious and deteriorating perceived corruption problem. The entire report can found at: He started his career working with a group of friends in press relations and later hosted a regional TV show. He attended a local theatre course and revealed himself as a skilled actor.

Wagner has appeared in more than ten films, two soap operas, a short-series and several television programs. Like many kids and young people from poor communities, his first experience with employment included carrying grocery, selling candies and sweets, up to the day in which he found a job as doorman for a movie theatre in an exclusive neighborhood in Rio de Janeiro. He also developed his career as a rapper and honed his skills by participating in rhyme battles and musical challenges.

His performance in the film brought much attention but he never left aside his musical talents. After returning to Brazil in , he worked with Antunes Filho, one of the most accomplished Brazilian theater directors in history. From that point on, his career took off in theater, film and television. Cortaz is a versatile actor who has shown his talent in more than 20 feature films, over 30 TV specials and soap operas, and a number of plays.

She left her hometown and went to the City of Curitiba in order to study and dedicate herself to theater. Since then, she has worked with the some of most important directors in Brazil. He started his career at the age of 16, doing amateur theatre. At the age of 14 she was already connected to the artistic world, giving ballet lessons to children.

After sending several letters to a television show, she was invited to be a stage assistant. BUS was his first theatrical film he directed. From to he worked at the Catholic University Theater Group both as an actor and a writer. In , he began to work as a screenwriter. He was the head of the screenwriting team of the Telecurso , the most important distant learning project ever produced in Brazil. He currently works as a security consultant. He graduated from college with an economics degree, but truly began his professional life as a photographer.

In the year , this same work became a book, as well as another one of his essays called Gramacho Garden , which was a result of 11 years of work and research at the Sanitary Landfill in Rio de Janeiro. In , he produced the award-winning documentary, BUS Prado is preparing to shoot his first fiction feature as a director. As melhores piadas de todos os tempos Portuguese Edition Click here if your download doesn"t start automatically As melhores piadas de todos os tempos Portuguese Edition As melhores piadas.

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