Paul Scheer sheds some light on The Room, lets us in on a secret in The Disaster Artist, and answers your questions. Plus, we explore the origins of midnight movies and take a look at IMDb's Top 10 Stars of 2017.
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Title: Central do Brasil (1998)
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| Cast overview, first billed only: | |||
| Fernanda Montenegro | ... | ||
| Marília Pêra | ... |
Irene
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Vinícius de Oliveira | ... |
Josué
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Soia Lira | ... |
Ana
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Othon Bastos | ... |
Cezar
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Otávio Augusto | ... |
Pedrão
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Stela Freitas | ... |
Yolanda
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Matheus Nachtergaele | ... |
Isaías
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Caio Junqueira | ... |
Moisés
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Socorro Nobre | ... |
Dora's Client
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Manoel Gomes | ... |
Dora's Client
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Roberto Andrade | ... |
Dora's Client
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Sheyla Kenia | ... |
Dora's Client
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Malcon Soares | ... |
Dora's Client
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Maria Fernandes | ... |
Dora's Client
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Dora, a dour old woman, works at a Rio de Janeiro central station, writing letters for customers and mailing them. She hates customers and calls them 'trash'. Josue is a 9-year-old boy who never met his father. His mother is sending letters to his father through Dora. When she dies in a car accident, Dora takes Josue and takes a trip with him to find his father. Written by Anonymous
Paul Scheer discusses The Disaster Artist and his love of awesomely bad movies. Plus, we dive into the origins of midnight movies and explore how The Room became a cult classic.
It took me 10 years to learn of this film's existence. I'm very sorry I wasn't paying more attention. It came out at a time when I had pretty much given up on films in general and Hollywood films in particular.
How was I to know that somewhere in the world a courageous director chose to film a story that didn't involve sex, comic-book sadistic or crime-glorifying violence, fake superheroics or CGI-augmented horror? How was I to know that not all Latin directors were involved in a world of idiotic and heartless self-centered proto-fascistic make-believe like, say, Guillermo Del Toro? How was I to know that Brazilian actress Fernanda Montenegro who got robbed of an Oscar by Gwyneth Paltrow in the almost preternaturally ridiculous and superficial "Shakespeare In Love" gave a performance that is rarely imaginable at the movies? Or that Brazil could produce a film that can rival Murnau's "Sunrise" or the neo-realist masterpieces of Vittorio De Sica for the title of "best film ever made"?
I watched this multi-leveled, multi-faceted reflexion piece dubbed in French late one recent Sunday night on Radio-Canada while recovering from the flu. The tears I cried were very good for my sinus condition. But they were also cried for the fact that I was such an idiot for having let this film slip by.
If you haven't seen it yet, there is still time. Watch it and ask yourself: What happened to America that it can't tell simple, moving and true stories like this one anymore? You won't have to cry but you will anyway.