Sangue do Meu Sangue

This movie made a strong impact by exposing the scars of a society living on the margins. It humanizes and dignifies the suffering of the working class, refusing any glamourization or easy redemption. Canijo presents characters who live on the edge, doing so with fierce empathy, leaving the audience with the feeling of having lived, if only for a few hours, within that dark and intense universe. This film is, ultimately, a reflection on family love and the cost of survival in adverse conditions, where every choice is a double-edged sword. It is a work that leaves its mark, highlighting João Canijo's power to explore the human condition in its most complex and often uncomfortable dimensions.

SANGUE DO MEU SANGUE is the most recent film from João Canijo, a respectable Portuguese director. Like other movies he has done before it combines drama with realistic "social" cinema in a very personal and distinctive kind of cinematography. In fact in this movie he keeps the same genre of plot, characters, sets, script and camera work he already did in previous works like SAPATOS PRETOS or GANHAR A VIDA. Canijo always does movies about dark themes, showing us the dark side of society.

This one is no exception. It's a powerful drama about a family which live with low recourses in a working-class neighborhood, in Lisbon's periphery. MÁRCIA (Rita Blanco) is a single mother that lives with her daughter CLAUDIA (Cleia Almeida), son, JOCA (Rafael Morais) and sister, IVETE (Anabela Moreira). CLAUDIA is studying in college to be a nurse, unlike JOCA who fell in the world of criminality (without his family to know though…). IVETE is a single woman in her 30s and has a very solitary life… All these characters perform two parallel stories, both quite dramatic and intense… The first one is about CLAUDIA and her relationship with a teacher (much older than her of course) and the second one is about JOCA and the drugs he stole from his dealer, TELMO (Nuno Lopes), in order to make some money; but TELMO will find out and things will not be easy to JOCA…

This movie, which is always set in a context of social misery, shows us these two complex and multifaceted stories about forbidden love, desolation, sadness, misery (social and human...), frustration, betrayal and revenge.

I enjoyed the acting, I think it's generally good, but I have to mention the performances of Rita Blanco, Anabela Moreira, and Nuno Lopes. These actors really do a great job! About the director's work I also think it's good, in his own personal way, but I must say I found a bit confusing those scenes where there're parallel talks (at parts we see parallel conversations in the same scene and it's really confusing to have two pairs of people talking different issues at the same time. Watch these scenes with subtitles would be even better!...).

All in all it's a good Portuguese film and I score it 7/10.

This is a movie that i'll never forget. Rita Blanco is in the best (and when i say the best i mean the best) performance i've ever seen in cinema. Yes, i know - i'm Portuguese, it's predictable i would say this is a great movie. But the truth is that Joao Canijo sees the cinema exactly how i see it, going deep on characters and going deep on their misery, always with a peace of comedy and truth in it. it's not a complicated history, the sexual content in it it's not unnecessary and the music background was not written by big contemporany compositors. The only concern of Joao was to make a movie faithful to the inconditional love story behind a poor family with huge problems appearing.

There are no special effects, over-the-top car chases and its not in 3D. What lies at the center of this story is humanity and their daily joys and sufferings.

"Sangue do meu Sangue" is set in the sprawling barrios in the outskirts of Lisbon where everyday is a struggle for survival. The spotlight is placed on the Fialho clan. Marcia Fialho, the family matriarch has single handedly raised her two children: Claudia, a young woman with a promising future as a nurse engaged to Cesar and Joca who engages in nefarious activities to earn some cash. The family lives in a cramped apartment together with Ivete, Marcia's sister whose self-consiousnes adds to the drama in the story. Claudia is having an affair with her university professor, and Marcia vehemently opposes it. While Marcia focuses all her attentions on her daughter, her son is left unattended, though he has developed a close, almost incestuous relationship with her aunt Ivete. But their lives are about to become unstable through a series of events that will leave all of them shattered beyond repair.

Its very rare to find a movie where the characters aren't merely caricatures that have absolutely no motives for their actions and lack of passion. The characters formed by João Canijo, the director, are very complex and admirable. Marcia stands out as a model of female heroism as she will go to any length to defend her family, protect them and ensure their daily upbringing. Their emotionally unstable nature can also be seen through their hopes and actions.

The camera work and use of non-verbal communication is simply excellent, the mark of true film making and positioning of camera angles in order to communicate images that tell the story. All the characters carry their secrets, and in a setting where living space is cramped, the hushed whispers at strategic corners of the small apartment show that secrets cannot be easily hidden. For instance, Marcia and Claudia are forced to share a bed and conversations cannot be carried on in secret as characters will be passing by at one point or another.

Some of the pot twists that occur here are somewhat predictable, but they are done in such a way that you feel you are watching them for the first time.

This film is indeed a must watch, especially for those who appreciate film as a true work of art and entertainment.

Portuguese director Joao Canijo returns with his eighth feature, Blood of My Blood, (his first fictional outing since 2007's Misbegotten) a sprawling, all consuming portrait of one week in the life a matriarchal run familial unit in the slums outside Lisbon, and may indeed be his masterpiece. Inevitably, there's no denying a comparison of technique with Altman and Mike Leigh (Canijo spent two years developing the characters with the actors via a series of workshops as Leigh does), but the film stands quite firmly as an often uncomfortable, unpleasant, and always fascinating family saga that would, in a fair world, finally open up the English speaking market to Canijo's previous directorial efforts, which date back to the early 80s.

In Padre Cruz, a slum on the edge of Lisbon, the Fialho clan, whose workable, but makeshift daily existence is about to be severely shaken. The family matriarch, Marcia (Rita Blanco) has singlehandedly raised her two children, Joca (Rafael Morais) and Claudia (Cleia Almeida), and she works in a restaurant where she has a distant but apparently fulfilling relationship with Helder (Fernando Luis). Marcia's younger sister, Ivete (Anabela Moreira), a hairdresser, also lives with them, her goal to get breast implants in an effort to retain her waning sex appeal, as time seems to be taking its toll on her. Besides daily squabbles and bickering between the usual amiable relatives, which includes Joca's girlfriend, Erica (Wilma de Brito) and Claudia's boyfriend, Cesar (Francisco Tavares) who works a security guard at the same grocery story with Claudia, it's Marcia's children that create a situation that not even the fierce convictions of their flinty mother can put right.

We first meet Joca as he explains to Telmo (Nuno Lopes), the dealer he works for, that he has just been robbed by the buyer he had been sent to meet. Telmo doesn't take this news too easily, and we learn that wild child Joca has been in prison already for drug trafficking. But Telmo's not so sure that Joca's being up front with his missing drugs. Meanwhile, Claudia, currently going to nursing school and planning a wedding with the jealous and needy Cesar, tells her mother she's in love with a married man. Marcia discovers the man, Alberto (Marcello Urgeghe) is one of Claudia's teachers, and travels to Alberto's fancy, upscale neighborhood to confront him about his relationship with Claudia. Throughout several interactions between Alberto and Claudio, we learn varying bits of information that complicate the situation, though something drastic has to take place before either Alberto or Claudia decide to listen to Marcia.

Canijo employs a novel split screen technique in his opening frames, which he repeats several times throughout the feature, using the camera to dissect rooms, using only a wall as separation. On one side, Joca and Telmo heatedly bickering about drug money, with Telmo's two young daughters delicately listening at the breakfast table on the other side, and so on. Canijo often catches characters in the same room or an adjacent space, their conversations overlapping at the same time. But as the film progresses, these busied frames give way to solemn close-ups, grotesquely calming the background to focus on the important and prophetic details we need to clue in on, not unlike tightening the coil of a noose. Even a karaoke bar (presented by Lord Jim Karaoke, a possible nod to Conrad's classic novel concerning the abandonment of a ship in distress) gives us competing, overlapping songs, with Cesar singing a Joe Cocker duet and Ivete crooning "Just Too Good To Be True," to Telmo, a tune which will haunt us again later. We soon leave behind the eerie green nighttime glow in Marcia's apartment, where the camera roves around the property like a hungry insect, until we end up in one sweaty, dark apartment where we observe one of the most upsettingly degrading scenarios (employing, once again, the Four Seasons) you're apt to see this year for the (almost) final outcome of the foolhardy actions of Joca and Claudia.

The two year character preparation obviously paid off for Canijo and his cast. There's definitely a fluidity between the Fialho's, even as they wander through the more sensationally salacious aspects of the narrative. A longer version, clocking in at over three hours, exists, and the material has also been prepared to air in a three part episode version for television, perhaps a more accessible venue due to its lengthy, but utterly worthwhile, running time. After its final frames, you can't help but ruminate on the monstrously perverted notions of the lengths people are willing to go (as well as what they're not willing to do) for those that are considered, in this perfectly titled film, Blood of My Blood.