一架宇宙飞船在星际间航行，来到一个奇怪的星球，船员们都产生了短暂的暴力倾向然后又发现这个星球充满了怪异的事情。这个魔鬼星球的生物企图侵占地球宇宙飞船成员的身体以避免自身种族由于“太阳”的燃尽而带来的毁灭...

米兰的汽车厂车间主任尼奥（Alberto Sordi 饰）准备利用半个月的假期回西西里老家度假，临行前，他的上司托他给西西里的黑手党头目文森佐带一份礼品。尼奥与妻子玛塔踏上家乡的土地后兴奋莫名，他介绍自己庞大的家族给妻子认识，那些旧日朋友有些死于枪杀，有些正在牢里，还有极少数人因为背叛朋友而成为乡民眼中的行尸走肉，剩下来的那些相识则对尼奥的“米兰味”稍有提防。尼奥拜见文森佐，得到了这位黑帮老人的认可，曾经的战乱年代中，尼奥是文森佐的得力手下。玛塔用自己的努力得到了家人的认可，尼奥也找回了和家乡传统契合的心态。某天夜里，尼奥被父亲叫醒，受命执行一项黑手党的暗杀任务……
本片获1963年圣塞巴斯蒂安国际电影节金贝壳奖。

巴西影史最佳超现实主义电影之一，与Joaquim Pedro de Andrade的《Macunaima》不相上下，更值得一提的是这么NB的无政府主义电影居然出自一个女导演之手，那个时代巴西的女导演还真不多见，Ana Carolina属于巴西新浪潮一代中的特例了，此片又是由我最爱的巴西女星Norma Bengell主演的。找这片已经很久了，今日终于拿到。。。：D


Anarchist film with surrealistic touches, fine actors and delightfully wacky dialog.A Weird and Surrealistic Dramatic Story.
Ana Carolina surprised everybody when, after many documentary shorts and a hit documentary feature about Brazilian dictator Getúlio Vargas, she jumped into anarchist, surrealist crazy drama/black comedy with her first fiction film "Mar de Rosas". A non-sequitur, iconoclast portrait of middle-class family life, her protagonist Betinha (Cristina Pereira, perfectly cast) is a sort of teenage Mafalda (Quino's comic book anti-heroine): rambunctious, naughty, irrepressible, eager to be evil. She's on the run with her mother Felicidade (Norma Bengell, returning to Brazilian films after a long sojourn in European cinema and theater), who has killed husband Sergio (Hugo Carvana) in a hotel bathroom. Betinha and Felicidade are followed by suspicious character Bardi (Otávio Augusto) and, after terrible "accidents" -- Betinha sets fire on her mother at a gas station, Felicidade is hit by a bus while trying to escape from Bardi -- the 3 of them end up being "helped" by wacky couple Dirceu (Ary Fontoura) and Niobi (hilarious, wreck-voiced Myriam Muniz).
"Mar de Rosas" has some major lulls (especially toward the end) and is technically precarious, but the acting is inspired and, despite being ultimately a tragic film, you'll find yourself cracking with the loony dialog which is rather difficult to translate, as Ana Carolina uses a lot of Brazilian jeux de mots, adages and figures of speech in her trademark style of "free association". "Mar de Rosas" is refreshingly anti-cliché, and its critical and commercial success paved the way to Ana Carolina's very individual oeuvre that combines anti- conformism, feminism and social criticism with a delightful touch of surrealistic (black) humor.
The antagonism portrayed in this explosive black comedy makes a dysfunctional family seem like the Brady bunch. Director Ana Carolina has her leads play it straight, allowing the absurdity of their situations to speak for itself. Felicidade (Norma Benguel) has just slashed her husband with a razor blade in a violent argument, and she and her offensive daughter (Cristina Pereira) run away together. They are caught by Orlande (Otavio Augusto) who was sent out after them by the injured husband. Instead of bringing them back, Orlande takes off with them and a series of misadventures results. Long periods of dialogue are well-written and maintain interest in this maladjusted trio.

本片围绕着四个角色进行。晚上离开妻儿出门的卢悉奥(Luisinho)和刚结束一段感情生活的纳尔逊(Nelson)驾驶着汽车四处寻乐,以此打发晚上的空虚和无聊。几经周折之后他们找了两名三陪女子回到房间。整个夜晚四个人之间的关系不断发生微妙变化。该片前75分钟全部为夜景,配以略带诡异感觉的钢琴曲,整部作品偏现代。
沃尔特·雨果·克霍里(Walter Hugo Khouri)(1929.10.21-2003.6.27)号称是巴西电影界的伯格曼，《空洞的夜》（1964）《燃烧的躯体》（1966）和《好色之徒》（1968）是他的人性三部曲，在他的影片中充满着存在主义的疑问、角色复杂内心的独白和现代主义的电影语言。本片是向安东尼奥尼《蚀》的致敬之作，入围了1965年法国戛纳电影节，是一部精致的巴西新浪潮艺术电影。

Paulistano de meia-idade declara seu amor e ódio pela cidade de Sao Paulo. Por intermédio da atual amante, relembra os casos amorosos e as mulheres que passaram por sua vida.
São Paulo Association of Art Critics Awards
Year Result Award Category/Recipient(s)
1982 Won APCA Trophy Best Actress (Melhor Atriz)
Norma Bengell
Tied with Renée de Vielmond and Dina Sfat for Eros, O Deus do Amor (1981).
Best Actress (Melhor Atriz)
Renée de Vielmond
Tied with Norma Bengell and Dina Sfat for Eros, O Deus do Amor (1981).
Best Actress (Melhor Atriz)
Dina Sfat
Tied with Renée de Vielmond and Norma Bengell for Eros, O Deus do Amor (1981).
Best Director (Melhor Diretor)
Walter Hugo Khouri
Tied with Arnaldo Jabor for Eu Te Amo (1981).
Best Film (Melhor Filme)
Walter Hugo Khouri

Gertrudes (Norma Bengell) is a middle aged lady who rents two of the rooms in her spacious upper middle class apartment (breakfast and plenty of companionship included) to two youngish women: the sensual thirty-something Madalena, and the apparently tormented twenty-something Lucia. Madalena is realistic - a fun-loving, sexually active night owl - who contrasts with Lucia, a dreamer and somewhat of a substitute daughter for the lonely landlady Gertrudes.
This Brazilian drama chronicles the lives between three female roommates sharing an apartment in Vitoria, Brazil. Former music teacher Gertrudes is hiding from the world after her lover spurns her. Magdalena is a free spirit. By day she works in a mental hospital; at night she is out in search of men. Lucia is the third, and most troubled roommate. To get Gertrudes to mother her, Lucia pretends she is mentally ill. Her ploy works and she and the older woman frequently get involved in mother/daughter games.

Bárbara, a French girl living in São Paulo, and two friends transform a small apartment into a luxury bordello, "The Palace of Angels", at first securing money and success, but...

Vava是里约城里一个穿着时髦的花花公子，整天无所事事，到处闲逛，靠自己一个有钱的富商叔父供济过日。突然某天叔父打电话来说不管他了，失去所有经济来源的Vava立刻从花钱如流水变得一文不值，于是他心生邪念，找来刚结识的另一小混混Jandir，密谋绑架叔父的情妇Leda，然后拍她的裸照去勒索一笔钱。结果在海滩上他们拍完后，身心受辱的Leda告诉他们自己的声誉根本没人会关心，她可以帮他们骗来富商的亲生女儿Vilma，拍Vilma的裸照拿去要挟绝对更有用，于是他们又开始了一场新的计划，不过接下来故事的发展却远远超出了你我惯常的想象，四个人居然陷入了一场复杂的感情游戏之中，而最后的结局出人意料