Film at Lincoln Center and Cinema Tropical are honoring the legacy of Brazil’s iconic L.C. Barreto Film Productions with retrospective “Isso é Brasil: Cinema According to L.C. Barreto Productions.”
The 13-film festival commemorates 60 years of Barreto-produced features. The series will take place from September 6 through 15 at Lincoln Center.
Director Bruno Barreto and producer Lucy Barreto will both be in attendance to introduce select screenings and take part in Q&As for the new 4K restorations of beloved films like “The Hour and Turn of Augusto Matraga” and “Dona Flor and Her Two Husbands,” which catapulted actress Sônia Braga to international fame. The feature was also Brazil’s highest-grossing film for more than 30 years.
L.C. Barreto Productions was founded in 1963 by Luiz Carlos and Lucy Barreto and is based in Rio de Janeiro. According to a press release, the Barreto family company is Brazil’s most important film...
The 13-film festival commemorates 60 years of Barreto-produced features. The series will take place from September 6 through 15 at Lincoln Center.
Director Bruno Barreto and producer Lucy Barreto will both be in attendance to introduce select screenings and take part in Q&As for the new 4K restorations of beloved films like “The Hour and Turn of Augusto Matraga” and “Dona Flor and Her Two Husbands,” which catapulted actress Sônia Braga to international fame. The feature was also Brazil’s highest-grossing film for more than 30 years.
L.C. Barreto Productions was founded in 1963 by Luiz Carlos and Lucy Barreto and is based in Rio de Janeiro. According to a press release, the Barreto family company is Brazil’s most important film...
- 8/21/2024
- by Samantha Bergeson
- Indiewire
Cannes Classics, the festival’s selection for tributes and retrospectives, has announced the rest of its program after the previously-announced opening night film “Napoleon Par Abel Gance.”
Among the highlights are a restoration of Charles Vidor’s 1946 “Gilda” to celebrate the 100th anniversary of Columbia Pictures, with Tom Rothman, Chairman and CEO, Sony Pictures Entertainment Motion Picture Group, attending. Wim Wenders will be on hand for a 40th anniversary screening of Palme d’Or winner “Paris, Texas,” while Faye Dunaway will be present for the screening of “Faye,” the first documentary about her life.
Ron Howard will present his documentary “Jim Henson Idea Man,” while Nanette Burstein brings the premiere of her documentary “Elizabeth Taylor: The Lost Tapes.”
See the full program of Cannes Classics below.
100 years of Columbia Pictures
“Gilda”
Charles Vidor
1946, 1h50, United States
A Sony Pictures Entertainment presentation. Restoration from the original 35mm nitrate negative and a 35mm nitrate internegative.
Among the highlights are a restoration of Charles Vidor’s 1946 “Gilda” to celebrate the 100th anniversary of Columbia Pictures, with Tom Rothman, Chairman and CEO, Sony Pictures Entertainment Motion Picture Group, attending. Wim Wenders will be on hand for a 40th anniversary screening of Palme d’Or winner “Paris, Texas,” while Faye Dunaway will be present for the screening of “Faye,” the first documentary about her life.
Ron Howard will present his documentary “Jim Henson Idea Man,” while Nanette Burstein brings the premiere of her documentary “Elizabeth Taylor: The Lost Tapes.”
See the full program of Cannes Classics below.
100 years of Columbia Pictures
“Gilda”
Charles Vidor
1946, 1h50, United States
A Sony Pictures Entertainment presentation. Restoration from the original 35mm nitrate negative and a 35mm nitrate internegative.
- 4/25/2024
- by Pat Saperstein
- Variety Film + TV
Dona Flor And Her Two Husbands, starring Sônia Braga, opened at The Paris Theatre in 1978 Photo: Bruno Barreto
The Paris Theatre, one of the most prestigious cinemas in the Us, is no more. A notice of closure was posted in August for what was the last remaining single-screen cinema in Manhattan. Ron Howard's documentary Pavarotti on Luciano Pavarotti was the final film shown at the 581-seat palace located on West 58th Street off Fifth Avenue near The Plaza Hotel. The ribbon for the opening of The Paris Theatre was cut by Marlene Dietrich in 1948.
Bruno Barreto: "The final scene of what I think is one of Sydney Pollack’s best films, takes place right across the street from The Paris Theatre, at the entrance of The Plaza Hotel." Photo: Anne-Katrin Titze
In 2013, Bruno Barreto's incandescent Reaching For The Moon, starring the formidable trio Miranda Otto, Glória Pires and Tracy Middendorf...
The Paris Theatre, one of the most prestigious cinemas in the Us, is no more. A notice of closure was posted in August for what was the last remaining single-screen cinema in Manhattan. Ron Howard's documentary Pavarotti on Luciano Pavarotti was the final film shown at the 581-seat palace located on West 58th Street off Fifth Avenue near The Plaza Hotel. The ribbon for the opening of The Paris Theatre was cut by Marlene Dietrich in 1948.
Bruno Barreto: "The final scene of what I think is one of Sydney Pollack’s best films, takes place right across the street from The Paris Theatre, at the entrance of The Plaza Hotel." Photo: Anne-Katrin Titze
In 2013, Bruno Barreto's incandescent Reaching For The Moon, starring the formidable trio Miranda Otto, Glória Pires and Tracy Middendorf...
- 9/3/2019
- by Anne-Katrin Titze and Bruno Barreto
- eyeforfilm.co.uk
Matthew Chapman, Anne-Katrin Titze, Bruno Barreto, Lucy Barreto under the marquee of The Paris Theatre. Photo: Ed Bahlman
The Paris Theatre, one of the most prestigious cinemas in the Us, had a full house for a Saturday night screening of Bruno Barreto's incandescent Reaching For the Moon, starring the formidable trio, Miranda Otto, Glória Pires and Tracy Middendorf. We began the post-screening discussion with numbers as producer Lucy Barreto, director Bruno Barreto, and co-screenwriter Matthew Chapman spoke about the film's coming of age in a 40 minute conversation with the participation of an enraptured audience.
The ribbon for the opening of The Paris Theatre was cut by Marlene Dietrich in 1948. Barreto celebrated his own anniversary - 35 years ago his film Dona Flor And Her Two Husbands opened at the Paris in 1978 and an after party was held at Studio 54 with guests including Robert De Niro and Liza Minnelli.
Lucy Barreto...
The Paris Theatre, one of the most prestigious cinemas in the Us, had a full house for a Saturday night screening of Bruno Barreto's incandescent Reaching For the Moon, starring the formidable trio, Miranda Otto, Glória Pires and Tracy Middendorf. We began the post-screening discussion with numbers as producer Lucy Barreto, director Bruno Barreto, and co-screenwriter Matthew Chapman spoke about the film's coming of age in a 40 minute conversation with the participation of an enraptured audience.
The ribbon for the opening of The Paris Theatre was cut by Marlene Dietrich in 1948. Barreto celebrated his own anniversary - 35 years ago his film Dona Flor And Her Two Husbands opened at the Paris in 1978 and an after party was held at Studio 54 with guests including Robert De Niro and Liza Minnelli.
Lucy Barreto...
- 11/10/2013
- by Anne-Katrin Titze
- eyeforfilm.co.uk
Bruno Barreto on Reaching For The Moon: "The traps of charm and seduction." Photo: Anne-Katrin Titze
Eye For Film critic Anne-Katrin Titze will moderate a Q&A at The Paris Theatre in New York City, with Reaching For The Moon (Flores Raras) director Bruno Barreto, co-screenwriter Matthew Chapman, and producer Lucy Barreto on Saturday, November 9, following the 7:00pm screening.
In my conversation with Bruno Barreto during the Tribeca Film Festival, we discussed how Deborah Kerr, co-starring with Cary Grant in Leo McCarey's An Affair To Remember, is channeled by Miranda Otto and how Sydney Pollack's Out Of Africa made for the perfect pitch, even without Meryl Streep or Robert Redford.
At the Crosby Street Hotel we began part 2 of our conversation with the actresses of Reaching For The Moon, onto the exploration of Crô: O Filme, and the Gravity of George Clooney, coming up.
Until...
Eye For Film critic Anne-Katrin Titze will moderate a Q&A at The Paris Theatre in New York City, with Reaching For The Moon (Flores Raras) director Bruno Barreto, co-screenwriter Matthew Chapman, and producer Lucy Barreto on Saturday, November 9, following the 7:00pm screening.
In my conversation with Bruno Barreto during the Tribeca Film Festival, we discussed how Deborah Kerr, co-starring with Cary Grant in Leo McCarey's An Affair To Remember, is channeled by Miranda Otto and how Sydney Pollack's Out Of Africa made for the perfect pitch, even without Meryl Streep or Robert Redford.
At the Crosby Street Hotel we began part 2 of our conversation with the actresses of Reaching For The Moon, onto the exploration of Crô: O Filme, and the Gravity of George Clooney, coming up.
Until...
- 11/8/2013
- by Jennie Kermode and Anne-Katrin Titze
- eyeforfilm.co.uk
Film review" 'Bossa Nova'
In "Bossa Nova", director Bruno Barreto serves up a dreamy Rio de Janeiro that pulsates to the beat of Antonio Carlos Jobim bossa nova classics, a Rio of midnight swims and intimate strolls along Copacabana beach, where romance lingers in the humid night air.
It's the Rio of travel agents' dreams rather than the urban nightmare Barreto portrayed in his frightening 1978 crime melodrama "Amor Bandido". While this Rio may intrigue romantically inclined adults, even they may feel cheated by lightweight fare that is more a tempting Brazilian hors d'oeuvres than a satisfying dinner by candlelight. Sony Classics should anticipate no more than modest returns in urban markets.
Although an ensemble piece, the film very much stars Barreto's wife, American actress Amy Irving. Playing an English teacher who stays on in Rio following the death of her Brazilian husband, she remains aloof from this tropical pleasure zone. Like a flower placed between the pages of a book for years, Irving's Mary Ann Simpson looks beautifully preserved but dead to her surroundings.
Barreto and writers Alexandre Machado and Fernanda Young, working from Sergio Sant'Anna's novel "Miss Simpson", place Mary Ann amid a whirligig of comic misunderstandings and near-farcical romantic pursuits that mostly feel forced and mechanical.
The paths of nine characters crisscross Mary Ann,'s with attorney Pedro Paulo (veteran actor Antonio Fagundes) at the focal point. Pedro's wife (Debora Bloch) has left him for her tai chi teacher (Kazuo Matsui). Mary Ann teaches English in the same building that houses the tailor shop of Paulo's father (Alberto de Mendoza).
One of Mary Ann's students (Drica Moraes) has fallen in love, sight unseen, with a New Yorker with whom she trades lies about lifestyle and physical attributes via the Internet. Another student, a soccer star (Alexandre Borges), must brush up on his English upon his move to a British club. Then Pedro's half-brother (Pedro Cardoso) falls for Pedro's legal intern (Giovanna Antonelli), who in turn develops a thing for the soccer star. Everything comes to a head with the arrival of the Internet lover (Stephen Tobolowsky).
The film's reliance on perfectly timed entrances and exits and fortuitous coincidences at times gives "Bossa Nova" a contrived feeling. Barreto manages the multiple plots and love affairs well, and the film is not without its moments of subtle charm and amiable comedy. The music -- both Jobim's and original work by Eumir Deodato -- and Pascal Rabaud's postcard-perfect cinematography establish the romance of this mythical Rio even if the viewer doesn't always buy into the romantic trysts.
The mood is playful, but the characters lie very near the surface. And the attempt to mingle laughter with tears never comes off. The most egregious stumble comes when Barreto brings all of the characters together for a climax at a hospital, where Pedro's father lies dying of a heart attack.
And Irving's feminine enigma floats through the movie in a way that Brazilians may find seductive and exotic. But to American viewers, she may seem like an emotional zombie.
BOSSA NOVA
Sony Pictures Classics
LC Barreto & Filmes do Equador
in association with Globo Filmes
Producers: Lucy Barreto, Luiz Carlos Barreto
Director: Bruno Barreto
Screenwriters: Alexandre Machado,
Fernanda Young
Based on a novel by: Sergio Sant'Anna
Executive producer: Bruno Barreto
Director of photography: Pascal Rabaud
Production designers: Cassio Amarante,
Carla Caffe
Music: Eumir Deodato
Costume designer: Emilia Duncan
Editor: Ray Hubley
Color/stereo
Cast:
Mary Ann: Amy Irving
Pedro Paulo: Antonio Fagundes
Acacio: Alexandre Borges
Tania: Debora Bloch
Nadine: Drica Moraes
Sharon: Giovanna Antonelli
Trevor: Stephen Tobolowsky
Roberto: Pedro Cardoso
Running time -- 95 minutes
MPAA rating: R...
It's the Rio of travel agents' dreams rather than the urban nightmare Barreto portrayed in his frightening 1978 crime melodrama "Amor Bandido". While this Rio may intrigue romantically inclined adults, even they may feel cheated by lightweight fare that is more a tempting Brazilian hors d'oeuvres than a satisfying dinner by candlelight. Sony Classics should anticipate no more than modest returns in urban markets.
Although an ensemble piece, the film very much stars Barreto's wife, American actress Amy Irving. Playing an English teacher who stays on in Rio following the death of her Brazilian husband, she remains aloof from this tropical pleasure zone. Like a flower placed between the pages of a book for years, Irving's Mary Ann Simpson looks beautifully preserved but dead to her surroundings.
Barreto and writers Alexandre Machado and Fernanda Young, working from Sergio Sant'Anna's novel "Miss Simpson", place Mary Ann amid a whirligig of comic misunderstandings and near-farcical romantic pursuits that mostly feel forced and mechanical.
The paths of nine characters crisscross Mary Ann,'s with attorney Pedro Paulo (veteran actor Antonio Fagundes) at the focal point. Pedro's wife (Debora Bloch) has left him for her tai chi teacher (Kazuo Matsui). Mary Ann teaches English in the same building that houses the tailor shop of Paulo's father (Alberto de Mendoza).
One of Mary Ann's students (Drica Moraes) has fallen in love, sight unseen, with a New Yorker with whom she trades lies about lifestyle and physical attributes via the Internet. Another student, a soccer star (Alexandre Borges), must brush up on his English upon his move to a British club. Then Pedro's half-brother (Pedro Cardoso) falls for Pedro's legal intern (Giovanna Antonelli), who in turn develops a thing for the soccer star. Everything comes to a head with the arrival of the Internet lover (Stephen Tobolowsky).
The film's reliance on perfectly timed entrances and exits and fortuitous coincidences at times gives "Bossa Nova" a contrived feeling. Barreto manages the multiple plots and love affairs well, and the film is not without its moments of subtle charm and amiable comedy. The music -- both Jobim's and original work by Eumir Deodato -- and Pascal Rabaud's postcard-perfect cinematography establish the romance of this mythical Rio even if the viewer doesn't always buy into the romantic trysts.
The mood is playful, but the characters lie very near the surface. And the attempt to mingle laughter with tears never comes off. The most egregious stumble comes when Barreto brings all of the characters together for a climax at a hospital, where Pedro's father lies dying of a heart attack.
And Irving's feminine enigma floats through the movie in a way that Brazilians may find seductive and exotic. But to American viewers, she may seem like an emotional zombie.
BOSSA NOVA
Sony Pictures Classics
LC Barreto & Filmes do Equador
in association with Globo Filmes
Producers: Lucy Barreto, Luiz Carlos Barreto
Director: Bruno Barreto
Screenwriters: Alexandre Machado,
Fernanda Young
Based on a novel by: Sergio Sant'Anna
Executive producer: Bruno Barreto
Director of photography: Pascal Rabaud
Production designers: Cassio Amarante,
Carla Caffe
Music: Eumir Deodato
Costume designer: Emilia Duncan
Editor: Ray Hubley
Color/stereo
Cast:
Mary Ann: Amy Irving
Pedro Paulo: Antonio Fagundes
Acacio: Alexandre Borges
Tania: Debora Bloch
Nadine: Drica Moraes
Sharon: Giovanna Antonelli
Trevor: Stephen Tobolowsky
Roberto: Pedro Cardoso
Running time -- 95 minutes
MPAA rating: R...
- 5/1/2000
- The Hollywood Reporter - Movie News
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