Nosso Lar

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Movie
Original title Nosso Lar
Country of production Brazil
original language Portuguese
Publishing year 2010
length 103 minutes
Age rating FSK 12
Rod
Director Wagner de Assis
script Wagner de Assis,
Laura Malin
production Iafa Britz
music Philip Glass
camera Ueli Steiger
cut Marcelo Moraes
occupation

Nosso Lar (German: Our home too, our home , DVD title Astral City: Our home ) is a Brazilian drama by Wagner de Assis from 2010 . The story is based on a book of the same name that was psychographed by Chico Xavier in 1943 and attributed to his own mind André Luiz, who is said to have dictated it to Xavier. Xavier was a Brazilian medium and very popular in his home country. His book has been sold there more than two million times and has been translated into various languages.

action

Dr. André Luiz is a well-respected doctor who is so busy that he hardly finds time for his wife and three children. After he collapsed and died unexpectedly during the subsequent operation, he found himself in a kind of shadowy world called Umbral, which is a kind of purgatory . It's a dark, swampy place full of suffering people. A penetrating cold surrounds him and he feels hunger, thirst, pain and also fear. His dismay to find himself in such a place is great. But he also quickly realizes that life seems to be an eternal cycle. It turns out that certain forms of debauchery such as anger, anger, hatred, greed and lust, selfishness and pride, envy and gluttony, materialism and the like are synonymous with suicide, which is why he is branded as suicidal without, in his understanding, one to have committed. Such sins festered in his soul and were ultimately one of the causes of his death. His cancer was also due to it and was therefore his own fault. When his stay in Umbral becomes unbearable for him, he pleads from the bottom of his heart to be freed from his situation and to help him and is heard.

People who are wrapped in white robes carry him to the sky city of Nosso Lar, a futuristic city that is not that far from the earth, is surrounded by a huge wall and is only referred to as "our home". Lísias introduces himself to him and replies to Luiz's question whether he is dead now, that his body has died, just that and that the questions he has will be answered in due course. With the help of his hands he heals the bad wounds that were inflicted on the doctor in Umbral. Luiz, who is impatiently waiting for answers, is supposed to gain new views in Nosso Lar about himself and life on earth and the meaning of earthly life and about incarnation and life in the hereafter. In order to be able to establish contact with his family, Luiz also has to contribute to the new community with working hours.

The doctor seeks to understand and learn from the valuable lessons he learns about life and his new reality, and to become a better and more selfless person. It is painful for him to learn that only two people prayed for him during the hour he died, one is Dona Amélia, a woman who liked him because he cared for her and her husband without a fee, and the other his Mother who was with him in spirit when he died. After a while he meets his mother again in Nosso Lar, which is a very happy moment for both of them. She enjoys the privilege of being able to live in the higher spheres, so that André can and may see her again at any time.

After André has received permission to visit his family on earth, he is disappointed to find that his wife Zélia seems to have forgotten him and has meanwhile married Ernesto, another man, which in the short term leads to old André again takes possession of him. Although it is not easy for him, he struggles to grant his wife her new happiness and even actively contribute to it and thus find his peace. It also helps that his daughter speaks very lovingly and understandingly about him and he notices that somehow he is still in the hearts of the people he loves most on earth. André Luiz sums up that life does not end and death is a dark game of illusions - but in truth a breath of renewal.

production

Production notes, filming

The film was produced by Cinética Filmes e Produções, Migdal Filmes, Fox Film do Brasil and Globo Filmes . In the United States, it was distributed by 20th Century Fox . The shooting extended over the months of July, August and September 2009 and took place in Rio de Janeiro and Brasília . Post production took 9 months.

Leading actor Renato Prieto spent almost half a year preparing for the film. He lost 18 pounds during that time from a diet that avoided carbohydrates and was reduced in calories. This happened under medical supervision. During the filming, Prieto spent many hours in the make-up, especially for the scenes that take place in Umbral.

About 90 percent of the scenes required special effects, from the creation of buildings, streets and houses within the spiritual city to the appearance of ghosts and the representation of their way of life. The wall around Nosso Lar was built on a farm in Guaratiba near Rio de Janeiro. It was 70 meters long and seven meters high. After the shooting in Guaratiba was finished, the portal and 20 meters of the wall were transported to the São Cristóvão district in Rio and the entrance and the main business center of the city of Nosso Lar were filmed in detail. The scenes outside of Nosso Lar were filmed at the Pracinhas Monument in Rio de Janeiro. The scenes in Umbral, on the threshold of the next world, were filmed in a quarry in the Jacarepaguá district of Rio de Janeiro on an area of ​​10,000 square meters. For the scenes that take place in Lysias's house, the objects were put together from real constructions, visual effects did the rest. Facades were built on some houses and the effect of a street full of houses was created with the help of chroma key panels . It took more than half a ton of dry ice to produce the various types of smoke. The Aerobus was 14 meters long and weighed seven tons. It was built in Novo Hamburgo in Rio Grande do Sul , from where it was on the way to the location in Rio de Janeiro for five days. It had to be transported on an extended trailer.

At the end of the film there is the following information: “André Luiz still works as a servant in Nosso Lar. Together with the medium Chico Xavier he has written 16 books about life in the spiritual world - for Chico Xavier, André Luiz and the inhabitants of 'Our Home'. "

Budget, success

The budget was 12.4 million US dollars . At the time of its release, Nosso Lar is said to have been the most expensive film in the history of Brazilian cinema.

Soundtrack

publication

The film premiered in Brazil on September 3, 2010 and already reached more than one million viewers within five days. In Spain it was first seen in a limited edition from May 15, 2014. In Germany the film was not shown in the cinema. The DVD and Blu-ray premiere took place on May 19, 2014 and is entitled Astral City: Our home , published by KSM GmbH.

The film was released in Venezuela on August 14, 2015 under the title Nuestro Hogar . It was also published in Portugal, there under the title O Nosso Lar , and in Russia under the title Наш дом . The worldwide English title is: Our Home: The Astral City or Astral City: A Spiritual Journey or Our Home Astral City: A Spirtual Journey . The film was shown in 435 cinemas, which was a record for a Brazilian film.

reception

criticism

Ron Shaker of Boodlefish.net said that, despite all the good intentions and hard work, much of the film was twenty years behind what American audiences expect from space and fantasy films. After all, there are some interesting twists and turns when the film tells about life after death. It seems that apartments are in short supply, family ties go beyond physical existence, so that one can keep the same parents or children when one is born again.

Scott Nye of Battleship Pretension , once you've seen the first few scenes in the film, you sigh and say, "Oh, this is one of those films." And everyone knows what that means, even if their experience with them is limited. Because these films have mystical-spiritual concepts that are underlaid with radiant light, white robes, various sources of sunlight and so on. The problem with the film is not its hippie-hippie-trippy intent, but that it only leads that intent to a logical conclusion.

Helvecio Parente found on the Blog do Heu page that the film had its advantages, but also its shortcomings. The great merit of Nosso Lar is to be a technically very well made film. Parente praised the special effects, which would really result in a very successful look and are better made than is often the case with similar productions. On the other hand, the story becomes boring because it explains exactly what is happening and the actors also act more mechanically, as if they were on autopilot. The trickiest point, however, is that the film that shows spiritualism fails as a film. Nosso Lar could be a milestone in the history of Brazilian cinema, but fails.

According to Brian Orndorf of Blu-ray-com , Astral City is a commendable attempt at positivity to propel a spiritual journey beyond the screen and demonstrate the virtues of self-improvement with community participation. In the second half the film loses its way and the thrill of discovery is replaced by the burden of answers.

At Miscelaneapasarratos.blogspot it is said that the actors do their job very well, the special effects were also praised, which are not bad, and the soundtrack was also praised, albeit with the caveat that the music of the composer Philip Glass is somehow always the same blade.

Matheus Carrera of Complexoc.wordpress pointed out that Nosso Lar , a film based on the greatest spiritual work that has ever been psychographed, attracts attention due to the high budget and is one of the most expensive films ever made in Brazil Cinema had been produced. The film, which has brought together global actors and Hollywood productions, has fueled anticipation of its release even among those who are not privy to the Kardecist doctrine. While talking about feelings and virtues that are part of a religion's creed, the feature would only appeal to those who believe in spiritism . The film is flat and exhausting because it overdraws the description and does not develop the conflicts between the characters. With their blunt text, the interpretations would come across as amateurish. The highlight of the film is the character Eloisa, played by Rosanne Mulholland, who represents a counterpoint in the midst of an undisputed world.

Elisabet Pereira from en 8 Críticas mm asked how difficult it is to approach the criticism of a spiritual film without getting into swampy terrain in which one could drown. Because a Christian topic can be a sensitive topic for some. Pereira came to the conclusion that the film, which waved between science fiction and Christian dogmatism, had a sectarian message of epic proportions. Although the most expensive film in Brazilian film history was accompanied by a great deal of moral ambition, it was shipwrecked in many ways. It should not be forgotten that spiritualism is deeply rooted in the land of samba, which explains its success in Brazil.

Keith Watson took a stand on the film for Red Carpet Crash , saying the basic problem with the film was that there was no tension, no excitement, no real emotion. The film contains only a bunch of matical feel-good clichés: All religions are more or less the same, everyone will go to heaven at some point, we will all reunite with our loved ones. Even if these feelings were gratifying and made Nosso Lar his most successful Brazilian film, the film is unlikely to help us find out more about all of this.

Don Simpson of Smells Like Screen Spirit saw the film very differently and said that director Wagner de Assis did a fantastic job. He doesn't want to reveal too much either, because it is better to experience the film with virgin eyes. The artistic direction is breathtaking and the special effects are also a worthwhile cinema experience. Those who indulge in it can enjoy the lush visual representations of Xavier's theories.

Awards

  • Darren A. Bell, Geoff DE Scott and Renato Tilhe were awarded the Brazilian Cinema Brazil Grand Prize for their special effects in film
  • Alessandro Laroca, Armando Torres junior and George Saldanha received a nomination for the Cinema Brazil Grand Prize in the category "Best Sound"
  • Lia Renha was awarded the Crystal Lens in the category "Best Production Design" at the Miami Brazilian Film Festival 2011.
  • At the Prêmio Contigo Cinema, Brazil 2011, the film was nominated for the Jury Award in the categories “Best Film” and “Best Costume Design” (Luciana Buarque).

Web links

Individual evidence

  1. ↑ Astral City: Our home see page moviepilot.de
  2. ↑ a b c d e f Nosso Lar see page adorocinema.com (Portuguese).
  3. ↑ Nosso Lar (2010) Trivia in the IMDb (English)
  4. ↑ a b Ron Shaker: Our Home / Nosso Lar see page film.boodlefisch.net (English). Retrieved August 11, 2019.
  5. ↑ a b Keith Watson: "Astral City: A Spiritual Journey" see page redcarpetcrash.com (English)
  6. ↑ Astral City - Our home Fig. DVD case filmsharks New KSM
  7. ^ Scott Nye: Astral City: A Spiritual Journey see page battleshippretension (English). Retrieved August 11, 2019.
  8. ↑ Helvecio Parente: Nosso Lar see page blogdoheu.wordpress.com (Portuguese). Retrieved August 11, 2019.
  9. ^ Brian Orndorf: Astral City: A Spiritual Journey see page blu-ray.com (English). Retrieved August 11, 2019.
  10. ↑ Como en botica - Nuestro Hogar see page miscelaneapasarratos.blogspot.com (Spanish). Retrieved August 11, 2019.
  11. ↑ Matheus Carrera: A apoteose espírita de “Nosso Lar” see page complexoc.wordpress.com (Portuguese). Retrieved August 11, 2019.
  12. ↑ Elisabet Pereira: Astral city. Comecocos see page criticasen8mm.com (Spanish). Retrieved August 11, 2019.
  13. ↑ Don Simpson: Astral City: A Spiritual Journey (Nosso Lar) Review see page smellslikescreenspirit.com (English), December 5, 2011. Accessed August 11, 2019.