Madame Sata skips over so much that it's even difficult to tell what year it is or how much time passes between scenes.
Madame Sata (2003)
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Reviews Counted:42
Fresh:25
Rotten:17
Average Rating:6.2/10
Theatrical Release:Jul 9, 2003 Limited
Synopsis:
Lapa, the bohemian district of Rio, 1932.
On the stage of cabaret Lux, Vitória dos Anjos (Renata Sorrah) sings one of Josephine Baker's greatest hits, "Nuit d'Alger". Backstage, fascinated,...
Lapa, the bohemian district of Rio, 1932.
On the stage of cabaret Lux, Vitória dos Anjos (Renata Sorrah) sings one of Josephine Baker's greatest hits, "Nuit d'Alger". Backstage, fascinated, her dresser João Francisco (Lázaro Ramos) lip-syncs each word of the song. He worships Vitória: covets her extravagant clothes and her golden costume jewelry, and admires her European poise. Also, to star in a show is João Francisco's big dream. However, his wishes do not make an impression on the decadent diva. To make things worse, he is exploited and humiliated by Gregório (Floriano Peixoto), his boss and Vitória's lover.
However, João Francisco's submissive attitude becomes proud and provocative when he leaves the cabaret and strolls through the poorly lighted streets of Rio de Janeiro's underworld peopled with shady characters.
From a run-down boarding house in the heart of Lapa he shares his world with Laurita (Marcélia Cartaxo), prostitute and "wife"; Firmina (Giovanna Barbosa), Laurita's daughter; and Taboo (Flávio Bauraqui), accomplice in petty crimes and "slave". The patriarch of this selected "family", João Francisco is well acquainted with the local underworld: he is on good terms with Amador (Emiliano Queiroz), owner of the Blue Danube bar, where prostitution, drugs and police corruption run wild. His strong temper and his skills in capoeira-style fighting make him a feared and fascinating character. He is an excellent fighter, and always responds to provocation, whether from bar customers or the police. One night, João Francisco meets Renatinho (Felippe Marques), with whom he falls in love.
Accused by Gregório for a theft he did not commit, João Francisco defies the police, and is convicted to six months in prison for flouting authority. Once he is set free, he convinces Amador to put on a show at the Blue Danube. Costumed and brilliantly made-up by Laurita and Taboo, João Francisco, goes on stage at last, and is received with acclaim by the audience. After so many years, it seems as if luck has finally smiled on him. However, after a second even more flamboyant show, an unwarranted reaction to a provocation from a customer destroys his dream of being an artist.
Lapa, Carnival of 1942.
After a 10-year term in prison, João Francisco returns to his district. After inventing and impersonating a number of characters – The Negress of the Bulacoché; Jamacy, the Queen of the Forest; Saint Rita of the Coconut Tree; the Shark; and the Wild Pussycat – he wins a carnival costume contest. Successful and reborn to life, he invents a new character: Madame Satã. -- © Wellspring Media
Starring: Lazaro Ramos, Marcelia Cartaxo, Flavio Bauraqui, Felipe Marques
Starring: Lazaro Ramos, Marcelia Cartaxo, Flavio Bauraqui, Felipe Marques, Emiliano Queiroz, Renata Sorrah, Giovanni Barbosa, Ricardo Blat
Director: Karim Aïnouz
Director: Karim Aïnouz
Screenwriter: Karim Aïnouz
Producer: Isabel Diegues, Mauricio Andrade Ramos, Donald K. Ranvaud, Marc Beauchamps
Studio: Wellspring
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Reviews for Madame Sata
Ainouz’ script and style seem unwilling to explore below the surface. He embraces the story’s physical details...without revealing much of his subject’s soul.
While the depiction of the Lapa district and the details of repressed homosexual life in Rio 10 years ago is always intriguing, we come away learning very little about the individual known as Madame Satã.
Ramos gives a powerful and raw performance, but never reveals what makes Joao who he is, what drives him both to violence and to vibrant self-expression.
All the main characters are loud, crude, obnoxious and just grating in general.
It doesn't tell us enough about its subject and yet its in-your-face love affair with that very subject blocks its ability to speak more fully of the broader social and culture issues of its milieu.
In this vibrant character study, newcomer Lázaro Ramos plays Francisco with an almost animal intensity, a reflection of the man's volatile and ambiguous spirit, where any given event seems equally likely to end in either a cathartic fit of laughter or a s
If we never really understand Joao, there is another problem with the character, and that is: He isn't very nice. I refer not to his crimes, but to the way he treats those who care for him.
One of those films that takes up a potentially fascinating subject only to fumble it.
Rough-hewn and vigorous, Karim Aïnouz’s first feature film tells the story about an illiterate 1930s drag queen... and it’s surprisingly good.
Filled with the sights and sounds of Rio of a bygone era, the whole thing virtually pulses with excitement.
Brazilian filmmaker Karim Ainouz doesn't glorify dos Santos but examines the hot, reckless fever of his life in all its thorny complexity.
The real rewards of this tough-minded yet hugely enjoyable throwback to earlier queer and art-house cinema work are its psychologically complex characterizations and its gorgeous craftsmanship.
There's no denying the incendiary power of Ramos's performance -- he's present in nearly every scene.
Madame Sata is no exotic tour of the slums of Rio. It takes you deeper into the soul of its title character and his desperate world than you imagined a movie could go.
| Tomatometer Percentage | Movie |
|---|---|
| 66% 66% | Public Enemies |
| 83% 83% | Harry Potter and the H… |
| 44% 44% | Night at the Museum: B… |
| 75% 75% | Julie & Julia |
| 32% 32% | Terminator Salvation |
| Tomatometer Percentage | Movie |
|---|---|
| 88% 88% | Inglourious Basterds |
| 78% 78% | The Hangover |
| 49% 49% | Taking Woodstock |
| 26% 26% | The Goods: Live Hard, Sell Hard |
| 47% 47% | The Girl From Monaco |
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