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the police will not take his allegation seriously, and will not look to punish the rapists. Thus, Deusdete feels the need to take matters into his own hand, creating his own “legal system.” The idea of creating a “legal system,” or “prisoner code of honor” fascinates
Babenco, who stated that the code of honor was one of the most interesting aspects of the film. This highlights a problem rampant in the post-colony – that of indirect government in both the streets and the prisons.
638:, liked the film and its social message, and wrote, "Despite its confusion and the broadness of many of its strokes, the movie belongs to a Latin American tradition of heartfelt social realism in which the struggles of ordinary people assume a heroic dimension. The film is undeniably the work of an artist with the strength to gaze into the abyss and return, his humanity fortified."
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prisoners. The police are illustrated as monsters, killing simply to kill, forcing the audience to question whether the police or the prisoners are more civil. With that, Carandiru illuminates that Brazil has two civilizations, both of which are brutal: those who live under the governmental law and those who live under their own set of laws.
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Dr. Varella as a social mediator who listens to all versions of the prisoners' truths, allowing the audience a glimpse into their world, prompting the audience to see the incarcerated from a different perspective. By giving the prisoners a voice, Carandiru gives the prisoners a chance to tell their stories without facing judgment.
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is a drama that adds a human dimension ...Dantean vision. Shot on location inside a notorious prison in São Paulo, it shows 8,000 men jammed into space meant for 2,000 and enforcing their own laws in a place their society has abandoned. The film, based on life, climaxes with a 1992 police attack on
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The focus on unfair law systems comes into play during the actual massacre during the climax of the film. The prisoners end their revolt and surrender all their makeshift weapons at the request of the prison warden. However, the police force storms the complex anyhow, killing hundreds of defenseless
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The theme of morality plays very closely to the theme of innocence in
Carandiru. While some of the characters are literally innocent, others (who are guilty) commit their crimes for potentially moral reasons. Deusdete (who has no history of crime) shoots one of the men who raped his sister. Another
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While the focus of
Carandiru is humanizing the prisoners, it still emphasizes the flawed Brazilian legal system and the prisoners' own legal system. Deusdete, who murders a man for raping his sister, originally wants to report the rape to the police. However, his friends advise him not to, because
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At one point during the film, Ebony sarcastically asks Dr. Varella if he's noticed that all the inmates of
Carandiru are innocent. All the inmates do see themselves as innocent, which speaks to the idea that the prisoners see themselves as people forced into crime. In this sense, Carandiru employs
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The inhumane conditions of the prison, such as the 100 square foot cells inhabited by sometimes up to 16 prisoners, are shown, as well as the lack of control that the guards have. Order in the prison is entirely controlled by the prisoners themselves, which leads them to face problems such as
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Several stories are developed, ranging from drug addiction to murder to family struggles to romance. Some of the more memorable stories are Lady Di (a trans woman) and No Way's marriage, Deusdete and Zico's family dynamic, Ezequiel and Zico's crack addictions, and
Majestade's “affairs.”
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Critic Jamie
Russell wrote, "Making his point without resorting to liberal hand-wringing, Babenco charts the climactic violence with steely detachment. Brutal, bloody, and far from brief, it's shocking enough to make us realise that this jailhouse hell really is no city of God."
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example is
Majestade, who takes the blame for his wife's crime. Majestade, though guilty of having two wives that only sort of know about each other (and are not very happy with that), is not guilty of arson and attempted murder (which is what he is in prison for).
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where 111 prisoners were killed, 102 by Police. The film was the last thing for which the prison was used before it was demolished in 2002, one year before the release of the film.
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659:: Audience Award; Glauber Rocha Award; House of the Americas Award; OCIC Award; Radio Havana Award; aúl Yelín Award; Special Jury Prize; all for Héctor Babenco; 2003.
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603:, 67% of 82 critics' reviews are positive, with an average rating of 6.5/10. The website's consensus reads: "A gritty, poignant, and shocking prison movie."
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the prison during which 111 inmates were killed... is a reminder that although
Carandiru has disappeared, prison conditions in Brazil continue to be inhuman."
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tells the stories of different inmates at Sāo Paulo's
Carandiru Penitentiary through the filter of Dr. Varella, who goes to the prison to test the inmates for
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Cinema Brazil: Cinema Brazil Grand Prize; Best
Adapted Screenplay, Héctor Babenco, Fernando Bonassi, and Victor Navas; Best Director, Héctor Babenco; 2004.
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even more painful for the audience to watch. Thus, when the film ends with real shots of Carandiru Penitentiary's demolition, Babenco employs catharsis.
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on March 21, 2003. It opened wide in Brazil on April 11, 2003. It was the highest-grossing Brazilian film of the year and third overall (behind
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ABC Cinematography Award, Brazil: ABC Trophy Feature Film; Best Sound, Romeu Quinto, Miriam Biderman, and Reilly Steele; 2004.
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Pellegrini, Tânia (July 2004). "No Fio da Navalha: Literatura e Violência no Brasil de Hoje".
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notorious prison Carandiru, one of Latin America's largest and most violent prison systems.
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Director Héctor Babenco shot the film on location in the actual penitentiary, and in
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film review, "Inside a Notorious Prison, Fires of Rage and Regret," May 14, 2004.
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fashion he used a huge cast of novice actors — some of whom are former inmates.
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In 2015, the Brazilian Film Critics Association aka Abraccine voted
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appreciated the realism of the drama, and wrote, "Hector Babenco's
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In the United States it opened on a limited basis on May 14, 2004.
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The picture was screened at various film festivals, including: the
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Brazilian docudrama: 'City of God', 'Carandiru' and 'Elite Squad'
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murders, rampant drug use, and disease all within the prison.
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film review, May 28, 2004. Last accessed: December 31, 2007.
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672:: Golden India Catalina; Best Film, Héctor Babenco; 2004.
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565:Toronto International Film Festival
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714:Michael Wilmington (28 May 2004).
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1405:How Tasty Was My Little Frenchman
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854:(in Portuguese). 27 November 2015
802:Abreu, Aida Penna Campos (2009).
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1833:Films based on non-fiction books
922:The Re-birth of Brazilian Cinema
632:Stephen Holden, film critic for
266:. The story culminates with the
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1318:Best International Feature Film
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291:Best Foreign Language Film
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1853:Italian crime drama films
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743:"Trivia for Carandiru"
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260:Carandiru Penitentiary
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33:Theatre release poster
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1908:2000s Argentine films
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1073:Russell, Jamie. Ibid.
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560:in France on May 19.
1397:Pra Quem Fica, Tchau
657:Havana Film Festival
479:Maria Luisa Mendonça
273:Babenco stated that
226:is a 2003 Brazilian
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1501:The Story of Fausta
1493:Subway to the Stars
1453:The Lyre of Delight
1062:The New York Times,
1005:"Carandiru Reviews"
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897:Correio Braziliense
550:The Matrix Reloaded
295:76th Academy Awards
242:Dr. Drauzio Varella
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1046:Chicago sun-Times,
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686:List of hood films
635:The New York Times
353:Carandiru Massacre
244:, a physician and
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1843:Films set in 1992
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591:Critical response
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529:Distribution
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475:as Majestade
473:Ailton Graça
446:Wagner Moura
428:Lázaro Ramos
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193:Running time
169:Release date
151:Globo Filmes
102:Wagner Moura
84:Oscar Kramer
64:
56:Victor Navas
1592:City of God
1525:O Quatrilho
1020:December 3,
989:December 3,
974:"Carandiru"
615:Roger Ebert
523:neo-realist
464:Gero Camilo
442:as Peixeira
436:as Deusdete
430:as Ezequiel
382:Law systems
337:City of God
318:São Paulo's
279:Cinema Novo
197:147 minutes
122:Mauro Alice
78:Produced by
39:Directed by
1783:2003 films
1777:Categories
1389:Mortal Sin
1113:Metacritic
1018:Retrieved
1010:Metacritic
959:2009-11-04
908:2009-02-27
702:References
605:Metacritic
517:Background
460:as herself
418:as Lady Di
228:drama film
215:Portuguese
180:2003-03-21
139:Production
49:Written by
1672:The Clown
1600:Carandiru
1325:1960—1999
1242:Carandiru
1124:Carandiru
1108:Carandiru
1097:Carandiru
1088:Carandiru
858:10 August
828:: 15–34.
806:(Thesis).
786:237109313
626:Carandiru
586:Reception
511:as Fuinha
466:as No Way
434:Caio Blat
364:Innocence
332:Carandiru
324:Carandiru
302:Carandiru
287:docudrama
283:Carandiru
275:Carandiru
256:Carandiru
223:Carandiru
207:Argentina
202:Countries
147:HB Filmes
141:companies
118:Edited by
22:Carandiru
1752:Mars One
1517:Exposure
1312:for the
1250:The Past
1218:Ironweed
1038:Archived
933:FIPRESCI
925:Archived
834:53550864
830:ProQuest
782:ProQuest
727:19 April
680:See also
670:Colombia
599:website
577:Thailand
509:Sabotage
481:as Dalva
424:as Chico
373:Morality
212:Language
128:Music by
90:Starring
61:Based on
752:17 June
595:On the
502:as Dina
448:as Zico
409:as Dr.
293:at the
178: (
1763:(2023)
1755:(2022)
1747:(2021)
1739:(2020)
1731:(2019)
1723:(2018)
1715:(2017)
1707:(2016)
1699:(2015)
1691:(2014)
1683:(2013)
1675:(2012)
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1659:(2010)
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1528:(1995)
1520:(1991)
1512:(1989)
1504:(1988)
1496:(1987)
1488:(1986)
1480:(1984)
1472:(1980)
1469:Pixote
1464:(1979)
1456:(1978)
1448:(1977)
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1432:(1975)
1424:(1974)
1416:(1973)
1408:(1972)
1400:(1971)
1392:(1970)
1384:(1969)
1376:(1968)
1368:(1967)
1360:(1965)
1352:(1964)
1344:(1962)
1336:(1960)
1269:(2015)
1261:(2014)
1253:(2007)
1245:(2003)
1237:(1998)
1229:(1991)
1221:(1987)
1213:(1985)
1205:(1980)
1202:Pixote
1197:(1977)
1189:(1975)
1181:(1973)
832:
784:
646:Awards
539:Brazil
359:Themes
205:Brazil
1557:Orfeu
1608:Olga
1437:Xica
1316:for
1102:IMDb
1022:2022
991:2022
860:2024
754:2010
747:IMDb
729:2013
651:Wins
547:and
400:Cast
312:Plot
304:the
246:AIDS
1127:at
1111:at
1100:at
878:BBC
537:in
328:HIV
240:by
70:by
1779::
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826:24
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812:^
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622:,
182:)
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