Casa de areia - The House of Sand

Movie

Casa de areia - The House of Sand

THE HOUSE OF SAND brings together for the first time two of Brazil’s most celebrated actresses. Academy Award nominee Fernanda Montenegro and
Palme d’Or winner Fernanda Torres – real-life mother and daughter – shine in this unique film about the lives of three generations of women. They persevere as they are challenged by the forces of Mother Nature and the tough, inhospitable sand dunes of northern Brazil, which play pivotal roles in their lives. Brought to life by the stunning cinematography of Ricardo Della Rosa, THE HOUSE OF SAND celebrates the struggles, passions and deep hidden desires of people trapped by their fate.

Original Title Casa de areia - The House of Sand
German Title The House of Sand
French Title La maison de sable
Other Titles The House of Sand
Directed by Andrucha Waddington
Country Brazil
Available Formats 35mm, DVD
Screenplay Elena Soárez, Andrucha Waddington. Idee: Luiz Carlos Barreto
Film Editing Sérgio Mekler
Soundtrack Carlo Bartolini, João Barone
Cinematography Ricardo Della Rosa
Sound Jorge Saldanha
Décors Tulé Peake
Costumes Claudia Kopke
Production Conspiração Filmes, Rio
Runtime 116 Min.
Language Portugiesisch/d/f
Actors
Fernanda Montenegro Donna Maria
Fernanda Torres Áurea
Ruy Guerra Vasco de Sá
Seu Jorge Massu - 1910-1919
Sténio Garcia Luiz - 1942
Luiz Melodia Massu - 1942
Enrique Díaz Luiz - 1919
Emiliano Queiroz Chico do Sal
João Acaiabe Pai de Massu
Camilla Facundes Maria - 1919
Awards

Winner Best Actress Award Guadalajara/Mexico
Alfred P. Sloan Feature Film Prize, Sundance
World Cinema, Toronto
Panorama, Berlin

«Hundert Jahre Einsamkeit wäre auch ein Titel gewesen, wenn er nicht schon vergeben wäre.»

P.S. Zürich



»Atemberaubend»

Züritipp



«Grosses, unvergessliches Kino.»

Biel/Bienne



«Grandios in Komposition und Anspruch.»

NZZ am Sonntag



«Bildgewaltig, wortkarg, existenzialistisch.»

Mybasel



«Die Lust am Cinemascope-Format beschert uns einen opulenten Augenschmaus - streicht aber gleichzeitig die existenzialistische Dimension der Handlung heraus.»

NZZ



«Ausserordentlich . . . sengend schön. »

Folha de São Paulo



«Das Resultat ist faszinierend und mehr als nur vitales Erzählkino mit bestechend schön fotografierten Bildern: eine bewegende Meditation über Körper, Landschaft, den Fluss der Zeit und das Leben im Ausnahmezustand als Alltag.»

Der Bund, Bern



«So tritt Waddington zum zweiten Mal in Folge den Beweis an, dass das aktuelle brasilianische Kino einen eigenen filmischen Ausdruck findet und dabei erfrischend und intelligent zu unterhalten vermag.»

Basler Zeitung



«Diese atemberaubend schöne Ecke der Welt ist gleichzeitig Paradies und Hölle, und man wischt sich beim Verlassen des Kinos den Sand von den Kleidern.»

Radio DRS 2



«Was für ein Film, welch epische Bilder. Das ist wohl der beste brasilianische Film seit Jahren. »

O Globo, Rio de Janeiro



«Es gibt Filme von schlicht unvergesslicher Bildlichkeit. Eines dieser Kleinode ist «The House of Sand», eine 59 Jahre umspannende Familiensaga des Brasilianers Andrucha Waddington ... Es ist viel mehr die phantastische Kamera von Ricardo Della Rosa, der - mal hautnah dran am Geschehen, dann wieder sich in der glimmernden Weite der Wüste verlierend - dem Film eine betörende Bildlichkeit verleiht. Und es ist das intensive Spiel der die Rollen von Oma, Mutter und Tochter unter sich aufteilenden Schauspielerinnen Fernanda Montenegro und Fernanda Torres, die auch im wirklichen Leben Mutter und Tochter sind.»

Independent Pictures, Irene Genhart



«Gekonnt photographiert Waddington die Wüste im Cinemascope-Format als grandios-archaische Landschaft, als Ort ausserhalb aller Orte, an dem nichts anderes mehr zu existieren scheint, als der stetige Lauf des Sandes und der Zeit.»

Cineman



«The House of Sand ist der persönlich-ste und mutigste Film von Andrucha Waddington. Im unvergleichlichen Schicksal der Frauen steckt die Atmos-phäre von Gabriel García Márquez drin.»

José Geraldo Couto





Time Out, London (Geoff Andrew):

"The two Fernanda’s, each playing, as the film proceeds through the decades, more than one character, play their roles with sensitivity, skill and considerable charisma."



Film Threat (Michael Ferraro):

"A massivelybeautiful epic."



Newsday (Jan Stuart):

"A shimmering masterwork... profoundly moving... 'The House of Sand' succeeds magnificently"



LA Times (Carina Chocano):

“Exquisitely beautiful film…screenwriter Elena Soárez weaves a lyrical narrative about isolation and time that recalls great space allegories such as 2001: A SPACE ODYSSEY and THE LITTLE PRINCE… Torres gives a touching, remarkable performance as a passionate and willful young woman lost in space and cut off from time, and as Doña Maria and the older Áurea, Montenegro gives wonderful portrayals of the aftermath of their choice to adapt and survive when it becomes clear to her that the world has passed them by. Heartbreaking and strange, "House of Sand" is as original as it is lovely.”





New York Times (A.O. Scott):

“Lovely film… The story that links these moments has the clarity of a fable and the sentimental enchantment of a magic-realist novel. Mr. Waddington, who brilliantly evoked the dry, brown Brazilian backlands in ME YOU THEM, brings out the psychological nuances of the story (the script is by Elena Soárez) even as he respects its bold, primal emotions and the almost classical dignity of the main characters”





Newsday (John Anderson):

“If David Lean and William Faulkner had ever collaborated, and brought in Henry Moore to do set design, HOUSE OF SAND might have been their troubling brainchild. An exercise in Brazilian existential anxiety, the film does for sand what DAS BOOT did for water, and ATANARJUAT (THE FAST RUNNER) did for ice, presenting human beings as all but irreconcilable to either the natural world or themselves... grand, fatalistic and visually stunning. HOUSE OF SAND is fascinating, compelling and most of all seductive, its inhabitants caught in a no-man's land between sand, sky and sea, and unable to look at any of it for what it is.”





New York Post (V.A. Musetto):

“Ricardo Della Rosa's sumptuous, wide-screen cinematography takes full advantage of the sandy vista, complementing beautiful acting by Montenegro and Torres.”

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