{"id":1768,"date":"2008-05-18T04:23:14","date_gmt":"2008-05-18T03:23:14","guid":{"rendered":"http:\/\/www.filmdetail.com\/?p=1768"},"modified":"2008-09-18T15:44:03","modified_gmt":"2008-09-18T14:44:03","slug":"cannes-2008-reactions-linha-de-passe","status":"publish","type":"post","link":"https:\/\/www.filmdetail.com\/2008\/05\/18\/cannes-2008-reactions-linha-de-passe\/","title":{"rendered":"Cannes 2008 Reactions: Linha de Passe"},"content":{"rendered":"

Linha de Passe<\/strong><\/a> is the new film from director Walter Salles<\/a> (who made Central Station and The Motorcycle Diaries) and screened in competition on Saturday.<\/p>\n

\"Linha<\/a><\/p>\n

Co-directed by Daniela Thomas<\/a> it explores the the lives of four brothers in S\u00e3o Paulo<\/a> struggling to find a better life.<\/p>\n

** UPDATE 18\/09\/08: Listen to our interview with Walter Salles<\/a> **<\/p>\n

Here is a summary of the critical reaction from Cannes:<\/p>\n

Todd McCarthy of Variety <\/strong>thinks it is engrossing, but not gripping<\/a>:<\/p>\n

Engrossing if not gripping effort possesses the quality and seriousness to make limited inroads on the international art circuit.<\/p><\/blockquote>\n

Deborah Young of The Hollywood Reporter<\/strong> admires the film, especially the acting<\/a>:<\/p>\n

‘Linha de passe’ (a soccer term) has a great deal of strength and sincerity going for it, which should attract the kind of audiences who admired the sociological line of “Central Station.”<\/p>\n

Hats off to the fine ensemble acting, which is never over-stated and renders each family member intensely individual.<\/p><\/blockquote>\n

Jonathan Romney of Screen Daily<\/strong> welcomes it as an alternative to recent Brazilian cinema<\/a>:<\/p>\n

Reunited with his co-director on 1996’s Foreign Land, Salles offers a well-knit multi-strander that vividly evokes the rigours of keeping body and soul together in Brazil’s biggest city, while offering a down-to-earth alternative to the more romantic and stylistically flashy films (City of God, Lower City, Berlin winner Elite Squad) with which Brazilian cinema has been identified lately.<\/p><\/blockquote>\n

Anthony Kaufman of indieWire<\/strong> has mixed feelings<\/a>:<\/p>\n

…an accomplished, though unremarkable competition film that never rises above its familiar tale of a poverty-stricken family.<\/p><\/blockquote>\n

Ty Burr of the Boston Globe<\/strong> admires the filmmaking but is taken aback by the bleakness of it<\/a>:<\/p>\n

An expertly filmed slice of Sao Paulo kitchen-sink realism, it tells of a family of poverty-stricken brothers who between them represent the many aspects of Brazil’s soul: soccer, sin, Jesus Christ, etc.<\/p>\n

Also bleak, bleak, bleak. Salles can really make movies, and he just lovingly ground my face in this one.<\/p><\/blockquote>\n

Xan Brooks of The Guardian<\/strong> thinksit is a fine film (but had issues with the out-of-sync subtitles)<\/a>:<\/p>\n

…the film marks a return to the soulful, socially conscious style he patented in Central Station, focusing on a trio of brothers hunting a route out of poverty, whether that be through football or gangsterism.<\/p>\n

It’s a fine movie but the English subtitles keep slipping out of synch, so that they relate to action that’s already been and gone.<\/p><\/blockquote>\n

Eric Lavelee of IonCinema<\/strong> thinks it is a noteworthy drama<\/a>:<\/p>\n

A return to sources for Walter Salles and Daniela Thomas, this is a noteworthy drama without superficial story structures or overly complex characters.<\/span><\/p><\/blockquote>\n

> Linha de Passe<\/a> at the IMDb
\n> Find out more about Walter Salles at Wikipedia<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

Linha de Passe is the new film from director Walter Salles (who made Central Station and The Motorcycle Diaries) and screened in competition on Saturday. Co-directed by Daniela Thomas it explores the the lives of four brothers in S\u00e3o Paulo struggling to find a better life. ** UPDATE 18\/09\/08: Listen to our interview with Walter […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[30,20],"tags":[151,208,209],"_links":{"self":[{"href":"https:\/\/www.filmdetail.com\/wp-json\/wp\/v2\/posts\/1768"}],"collection":[{"href":"https:\/\/www.filmdetail.com\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.filmdetail.com\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.filmdetail.com\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.filmdetail.com\/wp-json\/wp\/v2\/comments?post=1768"}],"version-history":[{"count":0,"href":"https:\/\/www.filmdetail.com\/wp-json\/wp\/v2\/posts\/1768\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.filmdetail.com\/wp-json\/wp\/v2\/media?parent=1768"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.filmdetail.com\/wp-json\/wp\/v2\/categories?post=1768"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.filmdetail.com\/wp-json\/wp\/v2\/tags?post=1768"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}