- Category: Video » Foreign Films » Portuguese
- Format: DVD Learn more about the DVD format using Tower WIKI.
- Region:
Region 1 (U.S. & Canada only.)
Learn more about Region formats.
- Number of Discs: 1
- UPC/EAN: 807839001945
- WAPI (Tower ID): 107039870
- Studio: TLA Releasing
- Release Date: August 16, 2005
- Average Customer Review: There are no customer reviews yet. Be the first to write a review!
- Tower.com Sales Rank: #20828 in Movies (See Top 100 Movies Bestsellers)
- #651 in Foreign Films (See Top 100 Foreign Films Bestsellers)
- #7 in Portuguese (See Top 100 Portuguese Bestsellers)
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Product Description
Run a Quick Search on "The Man Who Copied" starring Lazaro Ramos to Browse Related Products:
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Title Note
THEATRICAL RELEASE: APRIL 22, 2005 (NY)
Release Note
DVD Features:
Product Notes
Comic strip fantasy and glum working day reality mix in this unusual Brazilian film. André (Lázaro Ramos) works making photocopies at a stationary store, shooting the breeze with his sexy co-worker Marinês (Luana Piovani) and spending his nights drawing comics and spying on neighborhood good girl Sylvia (Leandra Leal). He's too shy and poor to ask Sylvia out, until he hits on the idea of making counterfeit money with the color copier after business hours. Cardoso (Pedro Cardoso), the equally poor, would-be lover of Marinês, helps with the scam. When André realizes Sylvia's loathsome father is spying on her in the shower, he realizes he needs to rob an armored car in order to finance an escape to Rio de Janeiro for the four of them. More windfalls and weirdness develop as romance slowly blossoms between Andre and Sylvia, and Marinês and Cardoso, and blackmail, murder, and other crimes take hold. This film is definitely attention grabbing, and Ramos is great as the shy André, holding fast to audience sympathy and attention with a minimum of sympathetic characterization. Director Jorge Furtado (in his feature film debut) uses the copier motif in some interestingly post-modern ways via the art of Andy Warhol and Keith Haring, the obsessions of Hitchcock (as in REAR WINDOW and VERTIGO) and scenes of childhood depicted by crude animation. He effectively portrays a rarely seen economic class strata--the minimum wage slaves who manage a decent apartment and food, but not much beyond that--then dares to push the envelope even further.
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