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12-year-old Abe is an aspiring chef, but his family—half-Israeli, half-Palestinian—have never had a meal together without a fight. But when Abe ditches his traditional summer camp to spend time with radical street chef Chico, his mentor’s fusion cuisine inspires him to unite his family through food. Abe decides to cook a meal that will bring everyone to the table, but he’s about to learn that the kitchen can’t heal some age-old divides.
- 3.7
83% WILL SEE
17% WON'T SEE
Legendary criminal. Proud homosexual. Cabaret star. Passionate lover. Killer. Devoted father of seven adopted children. Saint or devil? Madame Satã. Born to slaves in the arid wasteland of Northern Brazil and sold by his mother at the age of 7, he pursued his freedom on the mean streets of Lapa, Rio de Janeiro. Jet-black, six feet tall, 180 pounds of proud muscle in a silk shirt and tight pants, a cutthroat razor in his back pocket. Karim Aïnouz's extraordinary portrait of the triumphs and tragedy of this explosive and paradoxical personality unfolds against the vibrant, sordid background of Lapa: thronging underworld of pimps and whores, of cut-throats, queers and artists, of dark bars and brothels thick with smoke, drenched in sweat and cheap perfume. A world run through with violence and raw desire, where desperate dreams spring from poverty and squalor.
We come to know the rapist Gilson, tried and sentenced by the Law Behind Bars; Zico and Deusdete, inseparable half brothers who, in jail, become each other's assassins; Highness and his shrewd balancing act between women and heists; Old Chico, a Zen master in the ways of the dungeon, at last on the brink of his long-awaited freedom; Warden Pires, who oversees the prison with the perspicacity of a tightrope walker; Ebony, the true leader of the inmate community and the arbiter of all its contentions; the religious conversion of the assasin, Dagger, the rise and fall of the surfer Ezequiel; Antonio Carlos, Claudiomiro and, coming between them like a knife, and depraved Dina; the existentialist philosopher No Way and his love affair with the divine lady Di. The narrative of the film is crafted like a puzzle with one story giving way to another for of surrealist, uniquely Brazilian collage of tragedy.
The main character in Cidade de Deus is not a person. It is a place. Cidade de Deus is a poor housing project started in the 60's that became one of the most dangerous places in Rio de Janeiro by the beginning of the 80's. In order to tell the story of the place the film tells us the stories of many characters. But all is seen through the eyes of the narrator: Busca-Pi, a poor black kid too frail and scared to become an outlaw but also to smart to be content with an underpaid job. He grows up in a very violent environment. The odds are all against him. But he discovers he can see the reality with a different eye: the eye of an artist. Eventually he becomes a professional photographer. That is his redemption... Buscapi is not the real protagonist of the film. He is not the one who makes the story moves on [sic]. He is not the one who makes the decisions that will determine the main chain of events. Nevertheless, not only his life is attached to what happens in the story but it is also through his perspective of life that we understand the humanity of a world apparently condemned to endless violence.