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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
The House of Sand can't disguise a fundamental conceptual thinness, no matter how effective its distractions.
[Waddington] is bothersomely casual with the time-jumps and never makes their long survival quite believable.
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
After a positively thrilling first half, Brazilian director Andrucha Waddington's follow-up to his acclaimed 2000 debut Me You Thembadly stumbles over an unfortunate casting strategy.
In describing The House of Sand, one can't help but use obvious metaphors like 'dry' and 'arid,' as they're all too apt.
Both boring and interesting, monotonous and beautiful, and strangely mythic.
The trick plot enabling this Electra Complex situation tragedy is somewhat novel, but surprisingly not enough to sustain even a 103-minute running time.
Both characters make gradual evolutions, but don't blame audiences if they're too dazed and dry-mouthed to notice.
Evocative as it can be, House of Sand doesn't have enough story or incident to justify the investment in time.
Visually arresting and sounding magnificent, it has but one flaw -- a fatal one. It is dramatically inert.
It ends up like an impressionist painting without a subject, one we stare at longingly, waiting for its purpose to emerge.
The images of the coastal desert of Maranhão in northern Brazil are as beautiful to look at in Andrucha Waddington's movie as the lives of her characters are hard to live.
Beautifully shot in a sandy, remote corner of Northern Brazil, this lovely film tells the story of three generations of women.
This quietly seductive elegy sweeps through six decades with a seamless sense of topographical texture and spatial editing... [a] gorgeous tapestry.
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