House of Sand boasts the hypnotic power of its landscape and a pair of powerful and passionate performances by Montenegro and Torres.
House of Sand (2005)
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Reviews Counted:67
Fresh:52
Rotten:15
Average Rating:7.1/10
Consensus: Beautifully filmed with wonderful performances, this Brazilian tale deftly explores the passage of time and prolonged isolation in several decades of a mother and daughter relationship.
Theatrical Release:Aug 11, 2006 Limited
Box Office: $379,450
Synopsis: Áurea's saga starts in 1910, when, in pursuing a dream she never shared, she arrives in a caravan at a labyrinth of sand in Maranhão, northern Brazil. Her husband, Vasco, believes this land to be... Áurea's saga starts in 1910, when, in pursuing a dream she never shared, she arrives in a caravan at a labyrinth of sand in Maranhão, northern Brazil. Her husband, Vasco, believes this land to be prosperous and she is condemned to a life in this barren place, her only female company being her mother, Dona Maria. Pregnant and dissatisfied with her destiny, she tries everything to find a way out. She spends 59 years living with an imminent departure. At first Áurea is hindered by Vasco and is forced to live in a house on the top of a dune, until one day, alongside her mother, she witnesses the death of her husband, buried by his own insanity. With a mixture of both pain and relief, she believes herself to be free. But the truth is, her fate is in the hands of destiny. Abandoned in the desert with her daughter, Dona Maria goes in search of a small settlement originally founded by runaway slaves. Here she meets Massu, who becomes an important companion for the two women. It is he who teaches them how to trade belongings for food. And salt, brought from afar by Chico, the only man able to come and go as he pleases, and whom Áurea clings to in the hope of leaving after she gives birth. A girl is born, also called Maria. Nine years pass and Dona Maria is the first to realize that there is some sense to that place. But Áurea remains stubborn, only waiting for her daughter to grow up in order to face the journey. The possibility of realizing her greatest wish comes to life again with the return of the salt salesman. Just as everything seems set, Massu surprises them all by hindering their departure. Desperate, Áurea runs across the sandy plains after Chico. Instead of finding him, she encounters Lieutenant Luiz, a young guide leading a group of scientists researching of the total solar eclipse in the region. In an emotional passage she is able to rescue her feelings, rediscover sex and is given a chance to restart her life. However, once again, circumstances beyond her will force Áurea to remain on the sandy plains. Alongside Massu, she discovers that she does belong here, after all. --© Sony Pictures Classics [More]
Starring: Fernanda Montenegro, Fernanda Torres, Ruy Guerra, Seu Jorge
Starring: Fernanda Montenegro, Fernanda Torres, Ruy Guerra, Seu Jorge, Emiliano Queiroz, Stenio Garcia
Director: Andrucha Waddington
Director: Andrucha Waddington
Screenwriter: Elena Soarez
Story: Elena Soarez, Luis Carlos Barreto, Andrucha Waddington
Producer: Luis Carlos Barreto, Lucy Barreto, Walter Salles
Studio: Sony Pictures Classics
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Reviews for House of Sand
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.
A visual work of art and its simple story moves as effortlessly as the sands in a forsaken desert in northern Brazil.
At once allegorical and grimly naturalistic -- a contemplation of the sands of time set amid the drifting dunes of Brazil's unforgiving Maranahao desert.
Both Waddington and Soarez understand the impotence of words in this dusty setting, or the potency of just the right ones.
It is a wondrous place, almost of another planet, and more than compensation for the effort to get there.
Though this is a journey with more prolongued mystery of purpose than you might think you have patience for, its dramatic reward is the feeling of a sturdier foundation than the title implies.
Three generations of women struggle to survive in an inhospitable wilderness in Brazil far from civilization.
The trick plot enabling this Electra Complex situation tragedy is somewhat novel, but surprisingly not enough to sustain even a 103-minute running time.
There's poetry in the revelation that the whole film was inspired by one photograph of a lonely shack standing against entropy.
Heartbreaking and strange, House of Sand is as original as it is lovely.
House of Sand is a tour de force. The great, epic family story is the film's glue but everyone involved gives their all.
This is a film about existing outside of the world, encased in a bubble of time and it is strikingly beautiful and brilliantly acted.
In describing The House of Sand, one can't help but use obvious metaphors like 'dry' and 'arid,' as they're all too apt.
Disregards the political shifts of Brazil's history by isolating the sprawling narrative from the rest of the nation, so that nothing can distract the director from his finicky composing
The cinematography is stunning, but the story of generations of mothers and daughters is compelling as well, with fine performances in multiple roles by each of the women.
Cinematographer Ricardo della Rosa ... has created images of rare beauty in the midst of terrain so spectacularly strange that it sometimes seems to speak a language all its own.
[Waddington] is bothersomely casual with the time-jumps and never makes their long survival quite believable.
The dramatic and often sad lives led by the women yield surprisingly intimate dramas considering such limitless surroundings, a contrast that's played up by the excellent cinematography.
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