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《太陽背后》又譯為《血濺艷陽天》，是由沃爾特·薩雷斯導(dǎo)演，羅德里格·桑托羅、麗塔·阿斯麥尼、路易斯·卡洛斯·瓦斯索洛斯主演的一部意大利影片。

講述了20世紀(jì)初，巴西內(nèi)陸的窮山僻壤里，家族之間為爭奪土地進(jìn)行了激烈的斗爭。

內(nèi)容簡介

故事發(fā)生在1910年。巴西內(nèi)陸的窮山僻壤里，家族之間為爭奪土地進(jìn)行了激烈的斗爭。布雷維斯家族在與鄰居長年進(jìn)行的戰(zhàn)斗中失去了長子，父親將兒子死時(shí)身著的白襯衫保存了下來，直到上面的斑斑血跡變黃，他以此作為復(fù)仇的信號。他派出次子湯諾替兄報(bào)仇。父親的囑托和家族的恥辱成了湯諾年輕生命中難以承受的重負(fù)，他的青春從此消耗在對仇人長期的追逐中。

湯諾終于以一種殘忍的方式完成了這一任務(wù)，但他并沒有因此而得以解脫。對手的慘死在他的心中留下了深深的烙印，他為自己冷血的行為感到痛苦。于是他誠懇地向死者的祖父請求原諒，并希望和對方家族達(dá)成協(xié)議以結(jié)束長期的暴力斗爭。但湯諾的這一期望無異于一種虛幻的妄想，沉浸在悲痛中的老人只同意讓這次和平持續(xù)到下一次滿月，他要讓湯諾付出血的代價(jià)。

面對生死未卜的前途，湯諾在逃離與接受挑戰(zhàn)之間徘徊。一對流浪歌手——塞魯絲提諾和她的繼女克萊拉——的到來給村莊帶來了歡樂，她們讓湯諾看到了生活的另一面。但克萊拉和他的相愛并不能改變陰暗的未來，隨著滿月日的一天天臨近，湯諾必須為生命而展開搏斗

演員表

José Dumont .... Father

Rodrigo Santoro .... Tonio

Rita Assemany .... 母親

Ravi Ramos Lacerda .... Pacu

Luiz Carlos Vasconcelos .... Salustiano

Flavia Marco Antonio .... Clara

艾華拿度 Pontes .... Old Blind Man

Caio Junqueira .... Inácio

Mariana Loureiro .... Widow

Servilio De Holanda .... Isaias

Wagner Moura .... Matheus

Othon Bastos .... Mr. Louren?o

Gero Camilo .... Reginaldo

Vinícius de Oliveira .... Ferreira Family Member

Soia Lira .... Ferreira Family Member

獲得榮譽(yù)

大眾評分

該數(shù)據(jù)截止至2024年1月18日

主演介紹

羅德里格·桑托羅

Rodrigo Santoro (Tonho)Behind the Sun is Rodrigo Santoro's second feature film. For Bicho de Sete Cabe?as, by Laís Bodanzki, his film debut (winner of the Youth Prize at the Locarno Film Festival 2001), Rodrigo Santoro was chosen Best Actor at the Recife and Brasilia Film Festivals. (2000). His performance as a young student locked up in a mental hospital by his own father was praised by Brazilian critics, who named him as one of the country's promising talents. Before working in film, Rodrigo Santoro worked in TELEVISION and in the theater.

麗塔·阿斯麥尼

Rita Assemany (母親)

Rita Assemany began working in the theater as an adolescent, in 1980. Soon she became one of the most respected actresses in Bahia, appearing in productions of All Nudity Shall Be Punished, The Balcony, The Decameron, and Cabaré Brazil, among other plays. In 1992 she starred in the monologue Oficina Condensada, which became a great success with the public and ran for more than one year. In 1997, she was directed by Hans Ulrich Becker in a production of Medea. In film, Rita Assemany appeared in Central Station, by Walter Salles, and is the only actress who plays in all three episodes of the feature Três Histórias da Bahia. For the short film Pixaim, she won awards as Best Actress at the Curitiba and Brasilia Film Festivals.

路易斯·卡洛斯·瓦斯索洛斯

Luiz Carlos Vasconcelos (Salustiano)From Umbuzeiro in Paraíba, Luiz Carlos Vasconcelos has been transforming himself into the clown Xuxu for 23 years, a character that is the result of his passion for the circus and one of the reasons that led Walter Salles to invite him to play the circus performer Salustiano in Behind the Sun. His talent as a theater director in Paraíba became nationally known at the beginning of the 1990s, when his production of Vau da Sarapalha, an adaptation of a short by Guimar?es Rosa, traveled throughout Brazil winning over critics and the public. Luiz Carlos Vasconcelos debuted as a film actor playing the bandit Lampi?o in Perfumed Ball, by Lírio Ferreira and Paulo Caldas (1997). In 1999 he played one of the principal roles in Midnight/The First Day by Daniela Thomas and Walter Salles, for which he was chosen Best Actor by the S?o Paulo Art Critics Association. Another standout role in film came in Me You Them, by Andrucha Waddington, selected to be shown at Un Certain Regard at the Cannes Film Festival in 2000.

José Dumont (Father)

Born in Paraíba in 1950, José Dumont began acting in theater at the beginning of the 1970s. After appearing in films such as Lucio Flavio, by Hector Babenco, and Gaijin: Roads to Freedom, by Tizuka Yamasaki, he established himself as one of the most important actors in Brazilian cinema. In 1979, he played a migrant from the northeast in O Homem que Virou Suco, by Jo?o Batista de Andrade, a role that won him the prize for Best Actor at the Gramado and Brasilia film festivals. At the Havana Film Festival in 1985, he was chosen Best Actor for three films: O Baiano Fantasma, by Denoy de Oliveira, Avaeté, Seed of Revenge by Zelito Viana, and Tigipió, by Pedro Jorge de Castro. Other standout roles in film include Hour of the Star, by Suzana Amaral, At Play in the Fields of the Lord, by Hector Babenco, and Kenoma, by Eliane Caffé.

Ravi Ramos Lacerda (Pacu)

Behind the Sun is Ravi Ramos Lacerda's first feature film. He was chosen from among the hundreds of children who were screentested. Ravi began appearing as an actor in public theater festivals in Jo?o Pessoa, in Paraíba, where he was born. He received acclaim for a show in which he played a beggar boy who imitated Charlie Chaplin. In film, Ravi also appeared in the short movie A árvore da Miséria, WINNER of various awards at Brazilian film festivals.

Flavia Marco Antonio (Clara)

Flavia Marco Antonio was born in S?o Paulo in 1978, but chose to live in Salvador, Bahia, where she has lived since she was 18. In love with the circus, Flavia enrolled in the Picolino School of Circus Arts of Salvador in 1996, and today remains a member of the school's company. At the beginning of 2001, she performed in a 40-day tour of six cities in France in a show presented by the Picolino School. Flavia also belongs to the group Clowns Forever (Palha?os Para Sempre), dedicated to the study of the art of clowns. The same year she tested for Behind the Sun, she began studies at the Theater School of the Federal University of Bahia. She has already appeared in several shows in Salvador, among them Improvisation Nights, which had a successful run at the Castro Alves Theater.

影片相關(guān)

導(dǎo)演介紹

1998年一部溫情動(dòng)人的小品《中央車站》讓巴西導(dǎo)演華特·塞勒斯名聲大噪。塞勒斯作為90年代晚期巴西電影重新贏得國際聲譽(yù)的先鋒人物，他的道路走得并不平坦。他錯(cuò)過了60、70年代的興盛繁榮期，卻在80年代巴西電影工業(yè)日益衰落時(shí)以一部獲獎(jiǎng)紀(jì)錄片進(jìn)入影壇。在他執(zhí)導(dǎo)了故事片處女作《曝光》后，就因巴西經(jīng)濟(jì)的低迷不振無法得到拍片的機(jī)會。不過他仍然以給歐洲電視臺拍攝紀(jì)錄片保持著活躍。

1995年，隨著巴西經(jīng)濟(jì)的逐漸復(fù)蘇，他得以與另一名導(dǎo)演共同執(zhí)導(dǎo)了影片《異國他鄉(xiāng)》（Foreign Land），這部影片使國際影壇重新開始關(guān)注沉寂多年的巴西電影，獲得了廣泛的好評。同年他還拍攝了紀(jì)錄片《生活在別處》，這部作品成為他轟動(dòng)一時(shí)的影片《中央車站》的靈感來源。這部影片不僅打動(dòng)了萬千觀眾的心，更在世界各地取得了50多個(gè)獎(jiǎng)，其中包括柏林電影節(jié)金熊獎(jiǎng)和最佳女演員獎(jiǎng)。

塞勒斯過去的作品多處理有關(guān)尋找起源和自我發(fā)現(xiàn)的歷程的主題，尤其是在《中央車站》中通過公路電影的形式得到了出色的表現(xiàn)。而這部影片依舊涉及了這一主題，雖然此次已經(jīng)從個(gè)人的層面轉(zhuǎn)向了更加復(fù)雜宏大的文化層面。這部影片根據(jù)阿爾巴尼亞作家伊斯梅爾·卡戴爾的小說《破碎的四月》改編，塞勒斯稱自己為其中殘忍的力量所震懾，同時(shí)富有神話色彩的家族沖突的傳奇故事也深深地吸引了他，特別是作家塑造了一位被命運(yùn)所驅(qū)使、不得不違心地卷入暴力旋渦中的男主角。

塞勒斯和他的合作者在改編小說時(shí)，從古希臘悲劇中尋找靈感，尤其是受到了埃斯庫羅斯的啟發(fā)。他們發(fā)現(xiàn)古希臘原始而血腥的爭斗與世紀(jì)之初巴西某些偏遠(yuǎn)地區(qū)的情況頗為相似，于是他們按照古希臘悲劇的形式進(jìn)行改編，將小說的背景移植到巴西。

塞勒斯十分偏愛使用職業(yè)演員與非職業(yè)演員相混合的形式，這一次他更大規(guī)模地啟用了非職業(yè)演員，光挑選就花費(fèi)了一年時(shí)間。而外景地超過攝氏度40度的高溫一度讓拍攝工作十分困難，不過他們的堅(jiān)持使影片得到了滿意的效果。

一方面是血債必須償還，殺戮和暴行永遠(yuǎn)都不會被忘記；另一方面則存在著戰(zhàn)勝死亡的強(qiáng)烈欲望。這部電影就是試圖講述這兩者之間的沖突?！比账谷绱嗣枋鲎约旱淖髌贰?/p>

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