All language subtitles for Carandiru AC ENG

I'm Hector Babenco, the director
of the movie Carandiru.

I'm Hector Babenco, the director
of the movie Carandiru.

I am also one of
the screenwriters...

...who wrote and adapted
Drauzio Varella's book.

Since the beginning
of the writing process...

...I had the pleasure of receiving
faxed pages from Dr. Drauzio...

...which made me enthusiastic...

...to the point of investing
a year and a half on the script.

Or more, two years.

The first scene did not
exist in the script.

It began with a documentary,
which didn't work...

...because it was too slow.

After Drauzio told me the story
of a revolt he witnessed...

...we decided to use this idea,
which wasn't in the book...

...and turn it into the beginning
of the movie.

This huge shot of the city
of S�o Paulo...

...was a satellite photograph.

An artist named Nuno Ramos
came up with the idea.

He took photos from the satellite
at the time of the massacre...

...and we magnified the photo.

Here, we open with the
revolt Drauzio told me about.

He had gone there to conduct
routine medical exams...

...and stumbled upon a dilemma
in which a man tried to kill...

...another inmate, called Dagger...

...who had supposedly
killed his father.

It is a scene reminiscent...

...of Greek tragedy
in every imaginable sense.

The man we see here
is Ebony...

...the head janitor,
kitchen coordinator...

...and the person who maintains
order inside the penitentiary.

Sort of an authority within
the penitentiary...

...with more power
and ability to command...

...than the director
of the penitentiary.

He is the one who
interacts with the inmates...

...making Solomonic decisions
as to who is right or wrong...

...and what actions the community
must take to live in harmony...

...so that the inmates
remain alive...

...to continue their lives
outside the penitentiary.

It's important to remember
that Carandiru is not a prison...

...but a detention center which,
throughout the years...

...has deteriorated completely
and become a penitentiary.

That is, the inmates at Carandiru
are all awaiting trial.

They haven't been tried
or condemned...

...and some have been there
for more than 10 years.

Here we have the meeting
between two authorities...

...Ebony,
the head janitor...

...and the director
of the penitentiary.

Behind him stands the doctor,
who is on a routine visit.

These first eight or nine minutes
are important...

...even though the scene
is not in the book...

...because it establishes
the rivalries...

...and the quality of relations
among the inmates...

...in the opening moments
of the movie...

...avoiding a treatment used
in several scripts...

...which described the way
the penitentiary worked...

...and who inhabited Pavilion 8,
Pavilion 9, Pavilion 4...

We decided to condense this in
a closed area called "yellow wing"...

...a floor where the inmates
don't go outside to sunbathe.

They remain confined and
protected by the community...

...to avoid personal retaliation
inside the penitentiary.

This situation reveals a conflict
of tragic dimensions...

...as well as a moment when both
authorities confront each other.

The spectator, taken by surprise
by a film that begins...

...in the midst
of a transgression...

...perceives the quality
of the universe...

...in which these people live.

All of them, one way or another,
will be characters in the movie.

Now, there's a meeting where
a truce is established.

A moment of peace and quiet
among the inmates...

...in which the doctor
is introduced...

...to the person who in fact
runs the penitentiary...

...an authority without rank.

Immediately, we realize
the authority this man has...

...over the director
of the penitentiary.

He makes him turn around
and says...

...that if the knife
doesn't reappear...

...one inmate will be killed
every day.

So we realize that this
is a place that none of us...

...watching the DVD
has ever visited.

The knife is returned to the director
of the penitentiary...

...and unlike what would happen
in any other prison film...

...it is returned to the inmate
as property of his kitchen.

Here, a quick walk and
an explanation about...

...the characters who inhabit
this specific corridor.

The doctor is appalled at the
absurd conditions they live in...

...but nobody dares to mingle
with the rest of the community.

This is the moment in which
we physically and geographically...

...present a pavilion,
in this case, Pavilion 9...

...with its enclosed courtyard,
with all kinds of activities...

...board games, capoeira...

...cards, idle talk, crafts.

In short,
a moment of recreation.

In short,
a moment of recreation.

Then there's a sharp cut
to the doctor...

...who explains what he's come
to do in this story.

He comments on the danger
and fear of AIDS...

...which was widespread
among the inmates...

...due to intravenous drug use
with the same needle...

...and rampant
sexual promiscuity.

Here we present another
character, Chico...

...who is caught red-handed
doing something forbidden...

...talking on the phone
with his daughter...

...whom he says he hasn't
spoken to in 15 years.

He proudly comments
that his family...

...has never stepped
into a police station...

...and that, despite being
in jail his whole life...

...he has raised
18 honest children...

...and asks permission
to see his daughter.

But he asks for an exception,
that she visit him...

...on a day other than visiting day,
which, at first, is denied.

Here, the doctor
begins his daily routine.

It can be considered a dramatic
continuity of the preceding scene...

...the same day or any other day.

One sees the inmates doing
domestic chores...

...and the doctor looking
for his infirmary...

...where he will begin conducting
AIDS tests among the inmates.

Here, a folkloric character,
a mobile peddler...

...a cripple that sells
almost everything...

...gum, cigarettes, pot...

...candy, peanuts, shampoo.

And here, we introduce
new characters...

...who will be important
to our story...

...Ant�nio Carlos and Claudiomiro.

Here, another gallery
of characters.

They each tell the doctor
who they are...

...and say they've come
for an AIDS test...

...of their own free will.

We use this dramatically
to depict the gallery...

...and the social diversity that
inhabits such a sinister place...

...which we know so little about...

...a penitentiary in
the heart of S�o Paulo.

This is Bristles,
who will appear several times...

...a man who is part of
the cleaning staff...

...the group that controls
the penitentiary...

...for the well-being
of the community...

...even though sometimes
they adopt attitudes...

...which we would have
trouble accepting.

This is how they manage
to live peacefully...

...and fulfill their dreams
not only of being set free...

...but free and alive.

Here, a young man in the
advanced stages of deterioration.

Obviously, an AIDS victim.

The infirmary we see
here was built...

...inside an architectural
project erected...

...at Vera Cruz Studios,
in S�o Bernardo do Campo.

It's a reproduction,
albeit reinvented...

...by the magical work
of Cl�vis Bueno...

...the movie's art director.

The purpose of this sequence
is to show...

...a little of the human fauna,
the characters that inhabit...

...this labyrinth, their attitudes,
their personalities...

...their differences...

The man we see
here is Sabotage.

Sabotage was murdered
by someone who had sworn...

...to kill him in jail,
and when he got out...

...during the editing of the movie,
we heard he'd been found dead.

He was a loyal companion...

...a collaborator in several
raps we wrote together...

...and was with us throughout
most of the shooting.

Cutting from
the blood collection...

...there's a time lapse,
a dramatic cut showing...

...the end of the day,
when one supposes...

...that all the inmates have
returned to their cells.

But then we notice
that the doctor...

...who is on his first day of work...

...doesn't know his way
back to the street...

...and to his normal life.

The doctor doesn't visit...

...the penitentiary every day,
even though this...

...is not explained very
clearly in the movie.

And in his walk,
we created an opportunity...

...to introduce the geographical
space of Carandiru...

...totally re-created
in the studio.

The corridor is 50 meters long...

...and has two shorter
lateral corridors...

...with doors and cells.

It's a 2000-square-meter set...

...that took several months
to design and build.

Here, the doctor's curiosity
in looking inside a cell...

...and, for the first time,
the spectator realizes...

...that unlike the solitary
prisoner one imagines...

...there are 10 or 12 people
sharing the same space...

...each one with his own TV,
creating a deafening sound.

We see the doctor continuing
down the corridor in search...

...of another exit.

He sees a lonely inmate
cooking his food...

...who, by coincidence,
is Cl�vis Bueno...

...who asked to play
this cameo role.

The doctor exits into the courtyard
we saw previously...

...bustling with activity...

...and what he sees now
are the inmates in their cells...

...a building that resembles
a flophouse...

...where different qualities
and temperatures of light...

...demonstrate different activities
the prisoners are engaged in.

The doctor realizes the door
is locked and he can't get out...

...which is ironic, since the guard
doesn't know the doctor...

...and doesn't believe
he is truly a doctor.

It's his first moment of fear
inside the penitentiary...

...which is natural.
It's a scene that was inspired...

...by my first experiences
visiting Carandiru.

It is utterly petrifying
to be alone there...

...because you never know
who you might meet...

...and what kind of attitude
they might have.

But he is rescued and leaves...

...and what had been a moment
of fear of the unknown...

...is quelled by Ebony,
asking him if he's coming back.

This is the first voice-over insert,
the doctor's voice...

...describing the perplexity
of what he's seen.

He shares with the viewer
who he is, what he feels...

...and what he thinks.

Then we cut to a scene
of him working...

...as he would
in any clinic or hospital.

Here, the first narrative level
of the film is developed...

...which is the inmates' stories...

...that occupy almost 50 percent
of Drauzio Varella's book...

...and which we call "flashbacks"...

...or stories told and illustrated
by the movie.

There's no preoccupation
with the truth.

The story is told the way
he wants it to be heard...

...and here, he tells what
happened the day...

...he robbed a jewelry store.

They arrive at a shack
on the outskirts of S�o Paulo...

...where they are going to split
the loot from the robbery.

I was a little disappointed
the day we shot this...

...at the Novo Mundo slum,
near Guarulhos...

...when I saw that the jewelry
we had gathered...

...to illustrate the scene
was meager.

Here, we have a death
by mistake.

In a moment of tension,
Ebony...

...distracted by the presence
of his son...

...from whom he wanted to conceal
what they were doing...

...thought his partner was hiding
a gun under his jacket.

Here's a second twist
to the story.

He realizes that in fact,
he had been set up.

He was going to be killed
and the booty shared...

...between Santa Claus
and the bald man.

Here, we see his nerve,
his personality...

...obviously exerting
his energy and power...

...over a fragile character,
whom he easily disarms.

They get rid of the corpse
to avoid being caught...

...and we return
to the penitentiary...

...so as not to lose
the story's narrative flow...

...and not to forget that all these
stories throughout the movie...

...although the spectator
doesn't know it yet...

...are presented
in the infirmary...

...where the doctor conducts
his practice.

He continues telling his story.

Gordo was somehow arrested
and confessed...

...and now he is taken
to the detention center...

...or to a police station.
We see his wife and son...

...the boy we'd seen
in the window...

...a character that will
appear later in the film.

It's a film with many characters,
more than 20...

...and all of them important.

It's not a movie with
a lead actor and actress.

Here, a dialogue inside the patrol
van which I like very much...

...in which the thieves
comment on their situation.

Ebony is shattered,
anguished...

...unable to accept the way
things turned out.

Gordo apologizes for
his weakness of character...

...and we coexist
with characters...

...who are completely different
from the people we know.

Here, a comical moment
in the film...

...in which the inmates dug...

...a tunnel inside the chapel...

...which took them
a long time to finish...

...and through which they
intend to escape.

But an unexpected and
tragicomical situation occurs.

As the men try to flee like rats,
in dreadful conditions...

...through putrid sewage pipes,
the unexpected happens...

...when Gordo gets stuck
in the tunnel and can't move.

It was a delicate situation,
for if I'd made it too comical...

...it might have looked pathetic,
therefore...

...it is relatively realistic.
The character can't move...

...and ends up yelling
in despair for help.

He returns to the present,
asks about his illness...

...which is stress,
exhaustion, fatigue...

...and excessive responsibility.

Ebony gets his prescription,
and life goes on.

We immediately switch
to a lyrical sequence...

...where we see that character we'd
seen in the director's office...

...and we realize that
he is a balloon-maker...

...who kills time making
paper balloons.

Many of them never
reach the clouds.

And here, the presentation of
a very irreverent character...

...a great actor, Rodrigo Santoro,
playing a homosexual.

A character that would normally be
repelled by most spectators...

...here is a delicate human being
with a sexual preference...

...completely opposite
of his natural gender.

Let's listen to him for a while,
since he has unique things to say.

The first sequence we saw,
in the yellow wing...

...was shot at the Hip�dromo
Penitentiary, an abandoned area...

...where many years ago I filmed
Kiss of the Spider Woman.

And here,
we're back at the studio.

Rodrigo, Luiz Carlos Vasconcelos,
who plays the doctor...

...and Gero Camilo, a great
actor from the Northeast...

...whose character has
a funny nickname: "No Way."

...whose character has
a funny nickname: "No Way."

Here, there's a cut
and a time passage...

...and we introduce another
character...

...a great actor, Caio Blat.

I kid around with him,
saying he's our Montgomery Clift.

Many people might not remember
or know Montgomery Clift...

...a great American actor
from the 1950s and 1960s.

A very shy, very discrete,
but amazingly powerful actor.

Even without dialogue, one sees
that there's no room for him.

He's looking for a bed.
It's also a good moment...

...to show life inside the
penitentiary during the day...

...what goes on in the corridors,
and the different groups...

...in existence inside
the penitentiary.

Here, we see a black man
with bleached hair...

...surfing a wave that's
painted on the wall.

This is Ezequiel, who is
obviously high on crack.

He's taken something.

And here,
we reintroduce Dagger...

...whom we saw
in the first sequences.

Obviously, time has passed,
since he's unconfined.

Here, we understand there's a
survival code in the penitentiary...

...which we didn't know.

Zico arrives...

...and surprisingly...

...we find out that
Zico knows Deusdete.

They embrace like friends,
like brothers...

...which, in fact,
is what they are...

...albeit by adoption,
something we'll understand later.

We move on to a new character,
Highness...

...who is preparing
some packages...

...which, from his attitude,
we understand to be drugs...

...which he hides somewhere
difficult to be found.

He is bitten by a rat, which
leads him back to the infirmary.

There, we see Lula and No Way
stitching him up...

...the orderly smoking crack.

It's a scene I find funny
because it shows...

...that even though
they are inmates...

...they feel fear like any
human being...

...and pain
like any other person.

Despite the cruelties they
might have practiced outside...

...they are people like any other,
with the same kinds of reactions.

This scene is interrupted
by the arrival of the doctor...

...who realizes that Lula
is smoking crack...

...while conducting
a surgical procedure.

This sequence was shot
on the outskirts of S�o Paulo...

...near Santo Andr�.
I loved the soccer field...

...the soil's color
and especially that large tree...

...which helps to compose
the first scene.

And we introduce
Maria Luisa Mendon�a...

...a great actress...

...who plays the part
of an uptown girl...

...malicious, whimsical...

...and we see Highness'
total lack of inhibition...

...his smile revealing
that he's a lady-killer.

The sky was beautiful, stunning.
Especially behind Maria Luisa.

Ten minutes later,
there was a thunderstorm...

...and we had to shoot
on two different days...

...to maintain the lighting continuity.

This car is a rarity,
a model one doesn't find easily.

A two-tone Beetle.

Highness in action.
An irreverent man...

...who doesn't hesitate
to pull out a gun.

At the same time, he has
a great comical vein.

He's a very spontaneous
and talented new actor.

He was a samba-school dancer
in S�o Paulo...

...and this was his first film.

Dalva is stunned.

And we return once again
to the penitentiary...

...where he continues
telling his story.

Then a sequence of him
with the blond...

...when he meets another woman.

Highness' charm is astounding.
He's extremely natural...

...and an excellent dancer.

Maria Luisa, too, is
an excellent samba dancer...

...which was a great
surprise to us.

So I inverted the characters.

Instead of having
the black girl dancing...

...I chose the blond to avoid the clich�
that only blacks can samba.

This is Rosirene,
a diabolical woman...

...the kind any man
would lose his family for.

A Brazilian actress
who lives in Berlin...

...and works in theater and
has lived there for 10 years.

And we see that Highness
is immediately interested in her.

Her name is Aida Leiner.
Her mother is a black woman...

...and her father,
a German Jew.

Thus, her blue eyes
and interesting complexion.

This is a beautiful location
in Par� Alto.

A shack enhanced by Cl�vis
using aluminum sheets...

...giving it an interesting,
low-class, Mardi gras touch.

He arrogantly tries
to hit on her...

...and she, very aloof
and sure of herself...

...doesn't seem eager
to flirt with him.

Maria Luisa returns
with blood in her eyes.

And Highness ends up defeated,
looking like a fool...

...chasing his wife
to make up with her.

And here, a location
that was transformed...

...into a boarding house room.

Inside the Tr�s Rios Studios,
a huge room...

...with interesting corridors
and a winding staircase...

...which will appear later
in the film.

And once again, Cl�vis' hand...

...and excellent photography
by Walter Carvalho.

Very hard to shoot because there
were lots of mirrors on the walls.

We had to be very careful
not to reflect the camera.

In the background,
you can see the mirrors.

This is under the elevated
highway Minhoc�o.

The graffiti "Metr�polis"
really exists.

There, we set up a scene
with homeless people...

...and prostitutes offering
their services.

Even though she admits
to being his lover...

...she refuses to give up
her financial independence...

...and the need to be
a prostitute...

...to pay for her own expenses,
refusing his help.

He doesn't like her answer
and realizes...

...that she is drifting
away from him.

We had a caravan of 20 cars
driving around the street...

...to have constant
and controlled traffic.

Now we see the cars...

...all of them production
vehicles with lighting.

It took a whole night
to shoot this scene...

...12 to 14 hours of work.

A very daring scene,
with her asking him to bite her.

Not to make love to her,
but to bite her...

...which apparently drives
her crazy.

Next, we have a time passage.

And we see his second lover
arriving at the room...

...and catching them
sleeping together.

Obviously, she knows
about his affair...

...because she comes armed
with a bottle of alcohol...

...bent on setting them
on fire.

The preparation of this fire
was quite complicated.

We used techniques to keep the
fire from burning the sheets...

...giving them four seconds
to jump out of bed.

Here, we have a gas line
to keep the flames burning...

...which was controlled
by the local fire department...

...who assisted us with this.

Now a cut and a time passage,
the police having been called...

...and we show the winding
staircase I liked...

...and chose to close the sequence
from the moment I saw it.

As I needed to localize
and date the movie...

...which took place in 1992...

...I used the president at the time,
the man we see on TV...

...the foreboding
Fernando Collor de Mello.

Next, there's a scene in which
two characters...

...are drugging themselves.

We return to Deusdete,
whom we previously met...

...and we learn about another
character in the story...

...a sister whom Zico asks about.

We realize that Zico's behavior
is altered by the drugs...

...and from the look Deusdete
gives him...

...we see a certain disdain,
a certain reproach...

...a superior
and humiliating attitude...

...before Zico's degradation.

And a conflict is established
which, further on...

...will develop into a very
difficult moment.

Here, a junkie comes along
and proposes to trade...

...his only personal object,
an old surfboard...

...to pay his debt
and purchase more drugs.

And now, one of the most
insane moments in the film.

Zico drinks the water
he used to wash his syringes.

The chance of him having
caught a disease is enormous.

A reminder that the doctor
is not the lead character...

...even though he is the one
who narrates the story.

In the book, the doctor
is the first voice...

...but he doesn't have a dramatic
role in the penitentiary.

Here, he is one of the characters,
a listener...

...an observer of the drama
that unfolds.

Here, a prisoner begs to
be taken to the yellow wing.

He fears for his life because
he raped someone...

...a crime considered abominable
among the inmates.

Our first chance to see
the penitentiary as a whole.

We introduce
the geographical space...

...and the territory
of Carandiru gradually.

Chico, who has been
granted permission...

...to see his daughter,
has prepared himself...

...as well as possible
given his conditions.

He set up a tent
with a carpet...

...two benches, a bottle of soda...

...and even a flower on the table.

But the horn blows.
His daughter hasn't come...

...and he suffers a moment
of deep disappointment.

This is the real penitentiary,
not the studio.

These are the walls
of Carandiru.

This was filmed in Pavilion 2
in January, 2002.

The guards are real guards.

This was also shot
inside Pavilion 2...

...an accounting office
we converted with a false wall...

...to create a door
to a kind of dungeon...

...a replica of the ones
found in other pavilions...

...but placed between
two staircases.

The environment
is very claustrophobic...

...and I wanted the door to open
to a place with more light.

Here, we return
to the Vera Cruz studio.

With Gero Camilo
and Rodrigo Santoro.

It's a comical scene,
I'd say...

...in which they confess
to the doctor...

...their desire to engage
in a serious relationship.

The doctor is surprised...

...and the scene works
as an intermezzo...

...for the beginning
of another story...

...the story of Deusdete
and Zico.

This staircase was built for
the movie and leads nowhere.

It opens into a patio, a hall...

...where there would be
a nonexistent elevator.

The chain-link fence is very dramatic.

As the stairs lead nowhere,
the actors had to squat...

...and take their positions
against this scenographic wall.

The steps were made of concrete...

...and it is a replica
of a real Carandiru staircase.

Here, our first flashback,
which was shot at Par�.

It was great working
with the children...

...who were very natural,
very pleasant.

This was shot at the Interlagos
Reservoir, in a deserted area.

I was interested in this
bucolic atmosphere...

...still water, boats
abandoned in the water...

...to give the impression
that it was a common weekday.

Here, we have younger actors.
J�lia, whom I discovered...

...in a spectacle staged by...

...the Celia Helena
Performing Arts School.

Wagner Moura, who recently
starred in Deus � Brasileiro...

...and promises to be one of the
great actors of his generation.

Here, a funny situation.

Even in the middle of this
huge reservoir...

...the water is no deeper
than 3 feet...

...and they played as if they
were somewhere deeper.

They're playing
with inner tubes...

...something I used to
do as a kid in Argentina.

Here, Deusdete is drowning
in 3 feet of water.

This scene demonstrates...

...the strong brother
and the weak one.

He takes care of him,
and this...

...will establish
a very strong bond between them...

...from the beginning, the first
scene where they meet...

...and will develop
throughout the story.

Here, Deusdete remains
in the foreground...

...as a listener...

...and the narration
occurs behind him.

His brother's posture is
inquisitorial regarding Deusdete.

He says he was simply
a drug trafficker...

...while Deusdete, despite his
saintly looks, was a murderer.

At first, Deusdete was supposed
to be listening to music...

...and pretending
to be a disc jockey...

...but then we chose to have him
working on a bike for more realism.

Here, we improvised a bathroom
inside a room with props...

...a fake toilet and basin.

I was interested
in this small corridor...

...which was to be her room.

The bathroom was in fact a bedroom
transformed into a bathroom...

...with a plastic curtain
and set decoration.

What's interesting
about her character...

...is that the film ends
without one knowing...

...if she was truly molested
or not.

If she was simply offended.

And this is a dilemma that the
film doesn't intend to clarify...

...since it is not about her.

It does, however, raise a doubt
that will affect the brothers.

This is one of my favorite
scenes in the film.

It was shot on a flagstone.

When we got there,
it was raining hard...

...and all our equipment had to
be covered with a plastic canopy.

We couldn't cancel because we
were three days behind schedule...

...so we immediately set up
this huge plastic canopy...

...to cover everything
under an improvised tent.

I asked for the pool
because initially...

...Zico was going to be inside
of it, having a beer.

But it ended up creating
a strong chromatic element...

...the yellow and blue with
S�o Paulo in the background.

It's a sequence
that, visually, I adore.

The yellow of his T-shirt
and the yellow of the canopy.

The blue of the pool,
the gray S�o Paulo sky.

In short, it is a scene
that appeals to me...

...that I consider beautiful.

We see the rivalry
between the brothers.

The beginning of Deusdete's
bad luck begins here...

...when he asks for a gun
to defend himself.

Here's something funny
that Cl�vis invented.

The guns and the drugs
hidden in a water tank.

From this moment on,
his destiny is sealed.

This was shot
at Vila Prudente...

...near Cambu�i,
a huge urban slum.

We gave work to many people,
many children, many adults.

We never had a single problem.

We never lacked a plug,
a cable, an electrical part.

There was a whole team involved
in this simple night scene.

About 100 people,
including electricians...

...carpenters,
technicians, extras.

It looks so solitary, as if we'd
just shown up and shot the scene.

Behind the scenes,
there was a roped area...

...with about 2000 people
watching the shoot.

We distributed candy and
chocolate to the children...

...so they kept their mouths
busy chewing...

...to avoid distracting
the actors.

This church is real,
but the decoration with lamps...

...was prepared
by the art department.

We began preparations at 3:00 p.m.
And finished shooting at 1:00 a.m.

I decided to reveal the church
at the end of the sequence.

I thought it was more of a surprise,
and an elegant ending...

...to a bewildered Deusdete's
scene...

...totally in shock at what
he had just done.

We return with Chico...

...in this improvised studio
inside Carandiru.

Obviously, the camera is placed
where there would be a wall...

...a wall facing the door,
totally covered with black cloth...

...to avoid any backlight.

We used a huge reflector
outside to create...

...daylight coming
from below the door...

...which is the only
lighting in the scene.

Once again, Milton Gon�alves
was marvelous.

A great actor, a man capable
of amazing transformations.

This scene with the coins
was shot in slow motion.

At 100 frames per second.

This is the penitentiary's heart,
the kitchen...

...where food is prepared for
the 1800 inmates in this pavilion.

And here we see,
for the first time...

...Ebony
as head of the kitchen...

...and the man who listens
and offers advice.

It's worth remembering
that the entire cast...

...with the exception
of lvan de Almeida...

...who plays Ebony,
Wagner Moura, who plays Zico...

...Milton Gon�alves and Caio...

...Milton Gon�alves and Caio...

...were prepared
in three or four months...

...before shooting began, in
groups as large as 400 people.

We tested more than 1000 actors.

Over 300 were chosen,
and in the end there was...

...a final group near
80 people...

...trained by Penna,
an acting instructor...

...without whom it would have
been very hard...

...to endow the actors
with such realism.

Here, Floriano Peixoto
and Ricardo Blat...

...the two friends we saw
on the first day...

...when the doctor arrived
at the penitentiary.

This scene was shot
at kilometer 44...

...of the lmigrantes Highway.

I wanted dense, green forest
and the asphalt road...

...so that the green would
break the gray's monotony.

The gray of the road reminds us
of the penitentiary's gray...

...and the green,
of the generosity of nature.

It was a contrast in colors
that interested me...

...and works as a chromatic
relief for the spectator.

We used three cars,
two of which were burned.

When one was consumed,
we had to ignite another.

We had difficulties
with the weapons...

...since the actors had never
used guns professionally.

This is a dilemma we find
in Brazil.

The actors are great interpreters
and very interesting men...

...but usually don't have
the ability to ride horses...

...use guns, fake blows
and falls during fights.

For this,
we had a special tutor...

...a shooting expert and
a weapons instructor.

We hired a martial arts instructor.

In short, we provided training
for everybody...

...before shooting began.

This was shot at lbirapuera Park.

This child gave us
quite a bit of trouble.

Shooting this short sequence
took us the whole day.

The child refused to be
separated from his mother.

One of the most difficult days...

...in the entire film was
shooting with this child.

This group of bank robbers...

...is the only upper-middle-class
group in the film.

If we can call someone who lives
in Morumbi upper-middle-class.

But it demonstrates that,
in their taste...

...they have a decent home.

It is the only melodramatic
story in the movie...

...which I've always liked,
as opposed to others.

I like this feud
between the wives...

...which blends jealousy,
betrayal, gossip.

It's my melodramatic Argentine
side that likes this story.

Once again, it's a location
where the clothes and place...

...have vivid, tacky colors,
but once more...

...to create a contrast to the
monochrome of the penitentiary...

...where gray and khaki
are the predominant colors.

Leona Cavalli, an actress I
discovered at the Teatro Oficina...

...working with Jos� Celso
Martinez Correa.

She's very sensual, intelligent.

I'm sorry I didn't have
larger roles for some...

...actors and actresses
in the movie.

But not everything we
desire is possible.

This is a bank, kindly put
at our disposal by Unibanco.

It was very hard to get
a safe-deposit vault...

...since they are rare
these days.

Even though this one
was no longer in use...

...it worked perfectly
for the movie.

It's a totally sterile place
with no shelves or anything.

Just safe-deposit boxes.

This shot was done twice.

We had problems with the guns,
they didn't work properly.

But I like the final result.

One believes in Ricardo,
that he's frightened...

...disappointed. Nobody
imagined this could happen.

She was obviously aware
of what was going to happen...

...but the plan backfired
and she forces a smile...

...pretending not to understand
what happened.

We return to the penitentiary.
I avoid showing him spit blood.

I thought it was too strong.

And this is one of my favorite
moments in the movie...

...when he asks if toddlers
remember what their fathers do.

And then, he dies in peace.

This closes a narrative block.

Symbolically, the stairs are washed,
announcing the preparations...

...for visiting day, with water
washing away the week's filth...

...something that's done
on a weekly basis.

There's a show in the morning,
in this case...

...with the muse
of the penitentiary.

This is a number of her repertoire,
which she's done for years.

Rita began with Chacrinha,
in the 1960s or 1970s...

...and this is a number she performs
in penitentiaries...

...where she is adored,
desired, coveted...

...and respected by the
entire prison population.

We had 800 extras in this scene,
brought from all over S�o Paulo...

...in buses that left the
outskirts at 3:30 a.m.

All of them controlled,
numbered and registered...

...who arrived at the penitentiary
at 5:00 a. M...

...were put into costume,
prepared and fed.

In short, with absolute safety.

It was fascinating to work with
this mass of humble people...

...who worked
for a little over $ 10 a day...

...and behaved wonderfully,
doing everything we asked.

It's not easy to deal with 800 people
and ask for silence.

It was an interesting experience
of absolute cooperation...

...which one would never manage
outside the Third World.

This festive situation
is a didactic scene...

...to introduce a new character,
the condom...

...a warning to the community
to protect itself against diseases...

...of all kinds, knowing the high
incidence of promiscuity...

...that occurs in a community
where 8000 men...

...live together without women
for weeks, months or years.

Obviously, the Brazilian symbol
of the buttocks could not be absent.

We see Rita doing one
of her audacious routines...

...driving the masses insane...

...with her playful obscenity...

...and the free distribution
of condoms among the inmates.

Switching from this euphoria,
we have the melancholic wait...

Switching from this euphoria,
we have the melancholic wait...

...of the prisoners
for their families...

...filmed at Carandiru itself.

One can see the pavilions
in the background...

...which were populated
at the time.

The prisoners called out to us,
made signs...

...and gestured, saying,
"We're here, and you're there...

...and you can come and go
as you please."

This is the actual reception,
or triage, at Carandiru.

Six or seven rooms
with a large bench...

...and extremely
precarious conditions...

...where people line up
at dawn to be able to get in...

...and take food
to their loved ones.

Parents, siblings, wives,
children, in-laws, friends.

A shocking setup, really.

Obviously, my commentary
does not take into consideration...

...what these people might have
done to be in jail...

...but the conditions they live
in are medieval.

Here we have
an improvised gymnasium.

Two-liter water bottles
used as weights...

...a great invention that
only poverty can devise...

...or the lack of resources.

And here we are again in the
courtyard of the real Carandiru...

...with approximately 600 extras...

...depicting families and groups...

...for which we devised activities.

The children chose to sing
on the stage.

I took down their names
and promised to invite them...

...to the film's debut,
and I was shocked to learn...

...that none of them had ever
gone to the movies before.

Dagger continues his pilgrimage,
leading us through the different...

...situations at Carandiru. At the same
time he is part of the landscape...

...that is part of the narrative
told by the film.

All these stands
were set up by us.

The extras, the props,
the food.

It was a tough job that required
the work of 160 people...

...and more than 400 extras.

This scene reveals
a curious fact.

It introduces a new
character called Catarina...

...a character that is already
part of the folklore...

...of Brazilian penitentiaries,
the girl who wants to date...

...and marry an inmate
because this will give her...

...the guarantee that she will
not be betrayed.

We're still at Carandiru.
You can see the blocks...

...and other wings behind
the walls.

Here, a heartbreaking situation,
the inmates' children...

...playing soccer in the corridors
while their parents...

...indulge in intimate visits,
only allowed in latter years.

This scene is a blend
of realism and comedy.

I chose to depict it like this.

How true this is
is open to discussion...

...but I think it was worthwhile.

Ebony with his wife,
whom we saw when he was arrested.

The janitors and, once again,
we meet up with Dagger...

...but we don't know what
he's doing or where he's going.

Here, a surprise. Dagger sees
the chief janitor...

...and behaves as if he were
standing before the director...

...of the penitentiary,
especially since he is...

...with his wife. The moment
that commands greatest respect...

...is when an inmate meets
a colleague with his companion.

They dare not look at
another man's woman.

This fellow won't have
a happy end in Carandiru.

Now, a traveling camera shot
mounted on 70 meters of track...

...which began back at the green
door and halts here.

And then continues,
following the characters...

...all the way till here,
where it is raised by a crane...

...revealing the space where
they disappear and then leading...

...to a dynamic cut showing
Dalva leaving with the kids.

And here, we have a confrontation.

A confrontation where the bigamist
is forced to decide...

...which of the two women
he will remain with.

A great interpretation by
Maria Luisa and Aida Leiner.

Ailton, as Highness,
is splendid in this situation.

He is honest, sincere,
trying to explain...

...the importance of each
of his two women...

...but they are implacable.

In the background, we see the
doctor, observing the situation...

...and Mr. Pires, getting
a shave from an inmate...

...who is Bristles,
using a razor...

...something unacceptable
in a prison in the First World...

...but at Carandiru, everything
is possible. Or almost everything.

This is a sequence that shows
her tenderness...

...for the man she once knew,
who is no longer the same man.

And once again, expresses
a repressed attraction...

...between these two
half-brothers.

He can't accept the fact
that she never admitted...

...what he thinks happened, which
she neither denies nor confirms.

It's basically
an interpretation scene.

This is J�lia's first film,
a young, 18-year-old actress.

Dagger continues his trajectory.
We're back at Carandiru...

...in the late afternoon,
and the light is cooler.

Here, we used a large crane.

I like this final take
very much.

Here, a traveling shot
from left to right...

Here, a traveling shot
from left to right...

...revealing the character.

We see Dagger paying off
the guard...

...and we understand this is the
yellow wing, where the film began.

This will be obvious in
a couple of seconds.

Dagger moves about
with great confidence...

...worthy of a man who
isn't afraid of anything.

We worked with little light
to create a sinister atmosphere.

This reflection of the lamp
on the wall was intended...

...to create a disorganized
situation.

The characters are revealed...

...all of them gripped
by great sadness...

...as they are isolated
from the world.

We're not quite sure
what this is leading to.

This was filmed with
a hand-held camera.

And here we meet Gilson,
the rapist...

...who was sent
to this safe haven.

There was a long sequence
before this...

...a rap sung by
Ebony's son...

...but it ended up being
too long...

...and we cut directly
to Ezequiel...

...trying to propose
that his sister...

...have sex with some
of the inmates...

...in exchange for money
to pay his debt.

Now, we're at the Vera Cruz
studio, in Ant�nio Carlos' cell.

An unusual situation,
with a birthday cake.

We see a child,
whom we believe...

...to be his dead friend's son...

...that she has decided
to raise.

The camera draws closer,
almost imperceptibly.

And a cut to a curious situation,
a marriage proposal.

For this sequence, Rodrigo looks
as masculine as possible.

We see that his father
is an army officer...

...by the insignia
on his lapel.

A tough man, and it's amazing
how the lady that plays...

...Rodrigo's mother looks
like him.

We only realized this when
the shot was filmed...

...after testing almost
12 actresses for the part.

I never thought I'd chosen
someone so similar to Rodrigo.

A lucky choice.

We're at Carandiru again,
as Sunday comes to an end.

The courtyard is a mess...

...and we introduce
a new character, Dad�.

One of the saddest scenes
in the movie is the exit...

...which heightens the pain
and sadness...

...that accompany the families
as they say goodbye...

...to their loved ones
after visiting day.

This scene worried me
because Ebony's son...

...who is behind Caio,
seems to look at the camera.

But then I thought,
"Whoever notices this...

...is not paying attention
to the movie...

...and therefore,
the movie is no good."

Anyway, there was
no way to fix it.

Thankfully, nobody has ever
mentioned anything about this.

Here we used leather straps
to suspend Enrique D�az...

...who played the part
of the rapist.

He was strung up dead
to pretend he was hanged.

This is a famous sequence,
the reading of the blood tests...

...to know who has the AIDS virus.

And this confusion between the
result being positive or negative...

...and what negative and positive
mean regarding the illness.

Rodrigo is simply phenomenal,
and so is Gero in this scene...

...as we'll see in a moment.

Gero's mimicry, the transformation
of his expressions, is fabulous.

He goes from joy to pain...

...to sadness...

...to amusement.

And then,
a shadow comes over his face.

Judgment day.

We're back in the heart
of the penitentiary, the kitchen.

The objective of this sequence
is to show Zico's humiliation.

There's nothing that hurts
an inmate more...

...than being made fun
of by his colleagues.

An amazing interpretation by
Milton Gon�alves in this scene.

Nothing is forced.
He's exhausted.

We're in Chico's universe now.

We see that the balloonist's
cell is decorated with balloons.

This scene contains
what I consider...

...the best dialogue in the film.

In my understanding, it's
symbolic dialogue that sums up...

...the story of the film and
was used as the film's slogan.

Here we go back
to the two brothers.

Zico is totally spaced out,
having a hallucination.

There's an invisible enemy
whom he thinks...

...wants to poke his eye out.
A great interpretation by Wagner...

...and splendid lighting by Walter.

The sound of the television
was mixed very loud...

...to emphasize
the hallucinatory atmosphere.

This scene
had to be shot 10 times...

...to make sure we got this right.

It was necessary to stay with Deusdete
for a few moments...

...to give Zico time to light
his pipe and smoke crack.

This is the first time Deusdete
really confronts his brother...

...totally humiliating Zico.

Old Chico finally meets
with his family.

The scene was shot
from a distance...

...from the director's
point of view.

Who, unlike one imagines,
is not an evil man...

...but simply someone who must
enforce discipline...

...so the jail doesn't
become a whorehouse.

It is a delicate moment in which
father and daughter take a walk.

This ceramic device is
a Carandiru invention.

It has never been patented.

Both gas and alcohol to
make fire are forbidden.

Every cell has its own kitchen,
where they heat up...

...the food their families
bring on weekends.

There's a cold neon light
behind Wagner...

...meant to increase
the scene's dramatic punch.

And here, a great trick.
When the camera is raised...

...Deusdete jumps off the bed
and avoids the water...

...which is cooled with
nitrogen to give off vapor.

Here, another scene
of the group debating...

...the crime that occurred
among them.

It has to be tried,
but the verdict is uncertain.

We cut to a comical moment,
which is the wedding.

The glittering dress used
by Lady Di was made...

...with cellophane and cigarette
packets, as well as yogurt boxes.

Everything was made with recycled
material from the jail's trash.

A touch of Fassbinder...

...and a totally theatrical wedding,
a joke, a cheerful, joyous moment...

...of brotherhood. In short...

...a counterpoint used in the
narrative structure of the film...

...to relieve the moments
of tension.

So we move from a trial
to a trivial moment...

...a joke, albeit true in
the context of the characters.

They exchange rings and take
all the obligatory steps...

...of a heterosexual marriage.

Rodrigo looks beautiful, and Gero
looks fabulous in a smoking jacket.

It's a moment in the film
I like very much.

Saying that, with all the medicine
he learned there...

...when he gets out, he intends
to work as a doctor...

...save up, build a house
and live with Lady Di.

To me, this is very delicate
and beautiful.

We continue at the studio,
in the penitentiary we built.

The long corridor seen
from another angle.

We get to Highness' cell.

In this cut between scenes...

...Zico put on
a leather breastplate...

...to withstand the dagger thrusts.
It had blood bags and everything...

...that were needed for the scene.
Some knives are retractable.

Others aren't.
This one isn't, for sure.

But this one is.

We took down the back wall...

...and put the camera
behind Zico's neck.

Then we put the wall back.

And here we see Dagger, who is
going to deliver the death stab.

But something stops him.

This is another cell we built.

Ezequiel is in dreadful condition.

Consumed by drugs.

And Highness, who had been
a charming, playful...

...and daring character, transforms
himself into a messenger...

...of evil.

He's going to try to convince
or force Ezequiel...

...to confess to stabbing Zico,
so that everything is resolved.

In exchange, he will have a bed,
clean clothes and obviously...

...crack to smoke at will
until he dies...

...since, after all,
Ezequiel has AIDS.

These knives are all made
with iron blades...

...cut and sharpened by
the prisoners themselves.

This sequence of Ezequiel
handing in the knife...

...had a conclusion which
was deleted...

...but was worth seeing.

Zico is placed on a stretcher
with his brother, Deusdete...

...and in death, they embrace.

It's a very important moment
in the film.

Many of the elements used in the
movie were taken from Carandiru.

Here, Chico is leaving, wearing
a white jacket which is mine...

...and part of a suit
I had made 10 years ago...

...and must have worn once.

It was a little tight for him,
but I liked that.

Here, we're at the real Carandiru.

This is the exit door
at Pavilion 2.

All of this is real.

We see the courtyard outside.

The only scene in the movie
that has a realistic tone...

...contains elements that make
us understand that...

...it can't be happening,
since we know that Zico is dead.

And we know that Deusdete
is dead.

Meanwhile, there's nothing to
indicate that it isn't true.

Deusdete sobs
in an insistent lament...

...and groans constantly.

And the transference of pain
happens here...

...when Dagger realizes
he has the stigmas...

...of Zico's death on his body.

In absolute despair, he wakes up
and realizes it was a dream.

This scene has one
of the most interesting...

...dialogues in the movie...

...in which a professional
hit man asks the doctor...

...if he is going insane simply
because he wasn't able to kill...

...which is the only thing
he knows how to do.

And he even asks the doctor
if there's medication for this.

This whole scene was
constructed around Dagger...

...his shoulder and profile...

...and now, we cut
to a close-up of him.

And now, the narrative
configuration is conventional...

...panning back and forth.

Another interesting shot
at the end of the scene.

We see the doctor's anguish...

...and understand that Dagger
is completely confused...

...and no longer understands
who he is.

This bridge sequence,
without any dialogue...

...is to assist the narrative
and reintroduce Ebony's son...

...who was young when his father
was arrested and is now an adult.

He must have committed some crime
and is imprisoned with his father.

This rain is artificial.

We used 20 pipes
all along the roof...

...with water trucks pumping
water for a few hours...

...to obtain this steady...

...and perfectly perpendicular
rainfall without any wind.

It wasn't hard to find
evangelist extras.

The piano player
is really blind.

It was hard to mix this scene
because the noise of the rain...

...muffled the dialogue.

This is Dagger in his
finest moment.

One of those magical moments
that one creates in movies.

And this closes the second
act of the film...

...and the third act begins with
a soccer championship final...

...and the third act begins with
a soccer championship final...

...which we reduced
just to Carandiru...

...with 1000 to 1100 extras.

We depict the final match
between two pavilions.

Here is a funny invention
by the art department.

They created one
of the uniforms...

...with a marijuana leaf
on the chest.

And here, something that couldn't
be left out...

...the presence of the Brazilian
national anthem...

...a fundamental part of every
sports event in Brazil.

A scene that reminds me
of all the World Cup finals...

...a unique moment in which
we are all equal...

...no matter our social position
or the guilt we feel...

...for having done something wrong.

This moment, when the anthem
is played, is totally hypnotic.

One can't take one's eyes
off the screen.

A Brazilian conscience
flourishes in everyone...

...in a very strong, natural
and instinctive manner.

There's a feeling of brotherhood,
equality.

We live in the same country,
have the same culture...

...the same needs. Something
very beautiful happens...

...whenever the anthem is played,
and we managed to convey this...

...very naturally.
The extras are not prisoners.

We used about 1000 men,
and they responded very naturally.

And it could not
have been any different.

The doctor is summoned
for the kickoff...

...something that really happened
with Drauzio in the final...

...on October 2, 1992, and right
after the end of the game...

...began the events that
the film will soon narrate.

We never intended to narrate...

...the soccer game,
as it wasn't important.

What mattered was creating a time
passage for the doctor's exit...

...after the kickoff.

This scene shows how friendly some
of the inmates are with the doctor.

And here, we have
another narration.

But this time, it is not
a reflection in the present...

...but him talking in the past.

An inmate wants to hang
his underpants to dry...

...but Bristles doesn't let him.

And a fight ensues.

This sparks a confrontation
between different factions...

...which is immediately controlled.

And now, a new narrative element,
which are the depositions...

...in the future,
referring to the past...

...in the voices of a few
characters we know.

The game continues.
There's a foul, a penalty.

And the penalty leads
to an argument.

Red card, as is the norm.

It's not hard to thrill
Brazilian extras with a goal.

The action returns to the studio.

The confrontation gains momentum.

It's very hard
to shoot fights in cinema.

Americans, with their action
movies, have imposed a model...

...for fights, car accidents
and spectacular jumps.

I wasn't interested in shooting
a fight that wasn't Brazilian...

...but I could not hurt the extras,
who were not specialized...

...in fights and falls.
So we created a pandemonium.

And this pandemonium leads to
another very significant moment.

We had 600 people,
who were told to make...

...the greatest possible ruckus
without hurting anybody.

Which is what happened.

And this is the beginning of
a violent manifestation of anger.

Apparently,
without any real reason...

...but motivated by a deep discontent
which the inmates...

...have harbored
for months and years.

The elevator shaft was ideal...

...to film 360-degree
panoramic shots.

The special effects worked
wonderfully. Nobody got hurt...

...even though the scenes
were immensely dangerous...

...with dozens of people running
down a burning staircase.

We did not obtain permission
from the military police.

We had to make the uniforms...

...collect archival material
from Globo TV...

...dress all the soldiers,
find helmets, shields...

...machine guns, horses, dogs.

Everything had to be re-created...

...which was unique
in a Brazilian production.

We used 400 policemen,
prepared by our cast-training team.

A team of over 30 special effects
people in each window...

...making fire, blowing smoke,
directing extras...

...yelling directions.
The fire department was called in.

In short, an operation
that took a week to shoot...

...and produced the next three
or four minutes of film.

Six hundred prisoners divided
in several windows.

The script had to be shot
window by window for each line.

It was very hard because we
had to maintain the continuity...

...of the fire, the smoke.

All the material seen here
was taken from research...

...conducted in newspapers
and TV newscasts.

There's nothing
in the next 10 minutes of film...

...that wasn't studied in depth...

...or based on facts
that really took place.

The knives were handed in
when the director requested them...

...to avoid the entrance
of the military police.

I like this knife rain sequence
very much.

It's totally unique.

I've never seen anything
like it in cinema.

The white sheets asking
for peace...

...as seen
during the rebellion.

The director's complete
lack of good judgment...

...trying to demonstrate that
he has control of the prison...

...and asking everybody to
return to their cells.

Until someone more rebellious
decides to say what he thinks.

The reconstruction of the invasion
was obviously invented by us...

...but this was the geographical
space where everything happened.

I tried to reproduce
what I thought a troop...

...with 12 horsemen, 12 dogs and
350 soldiers armed to the teeth...

...could have done upon entering
the penitentiary...

...containing 1000 unarmed men,
in the dark...

...with water leaks all over
the place.

A churchgoer was ordered
to guide the police...

...into the penitentiary...

...because they didn't know
how to get in.

This is a true fact.

The invasion was conducted
in the dark.

None of the soldiers had training
for this kind of operation.

The prisoners threatened them,
saying they all had AIDS.

And obviously, the first
casualties occurred.

The weapons used were prepared
especially for the movie.

They only shoot blanks.

The bullets tearing into
the inmates were all prepared...

...by professionals we brought
from Argentina and Mexico...

...to help us with the firefight.

We worked with hundreds of people
running all over the place.

Thankfully, we had no accidents.

The military police were entirely
made up of our actors.

We had no assistance
from the military police.

They told us that the incident
at Carandiru...

...had blemished their organization...

...and that they were sorry...

...but could not offer
protection nor assistance.

We tried to reinvent the attack
following depositions...

...of inmates who survived
the massacre.

And what one sees from here on
is fictional...

...but based on true facts.

It was all filmed with
two or three cameras...

...one of them in slow motion...

...and we took about 10 days
to shoot the massacre...

...working 14-hour shifts...

...and everything that is
shown in this movie...

...follows what Dr. Drauzio Varella
was told...

...by inmates who
survived the massacre.

The sparse dialogue in this scene
was taken from the records.

The criminal responsibility suit...

...for what happened that day
remains untried.

One hundred and eleven inmates
were killed...

...and not a single soldier
was even wounded.

This structure of depositions
is very interesting.

It helped me tell the story
and give an afterlife...

...to the characters, which is
a way to say they weren't killed.

They didn't die that day.

I looked for a way to close
the massacre...

...without having to invent
more executions...

...which could end
up being excessive.

From this moment on,
I invented a ballet...

...performed by a ballet
group from S�o Paulo...

...that is a danced poem
inside the movie...

...that works as a short allegory
to the madness of that moment.

The music here is
fundamentally important.

We were very pleased with the
work done by Andr� Abujamra.

This lonely guitar that
sounds so dramatic.

So out of tune, so synchronized
with the brutality of the scene.

I feel deeply moved
whenever I see this.

The idea of the dog
searching for something.

And he finds the celebrated
penitentiary cat...

...who came from Carandiru
to the studio...

...and was with us throughout
the whole shoot.

Here is a sort of epilogue,
with different lighting.

More macabre, more somber.

And the most dreadful moment,
when the inmates who survived...

...are taken to the courtyard.

We have 1200 prisoners lined up.

They spent two days with us...

...reproducing, perfectly,
photographs published...

...in the most important
Brazilian newspapers.

Nothing was manipulated.

This is how the inmates
spent the night...

...as documented.

This powerful, biblical image
of submission, guilt...

...and humiliation ended up
being the movie's poster.

I always thought it was the image
that best represents...

...the barbarism depicted
in this film.

The story continues with
the cleaning of the bodies...

...as narrated in Drauzio's book...

...according to witnesses
that were there.

Those who helped carry
the bodies were executed...

...to avoid witnesses.

Here we have a traveling shot
that begins with Dad�...

...and moves back slowly...

...passing through the door.

We see bodies strewn
all over the floor...

...while Dad� reads a psalm
his mother wrote to him.

Here, we understand that perhaps
he was chosen to survive...

...and become one of the narrators
of the story.

We return to a narrative element
we've already seen in the film...

...which is the staircase.

But this time, there's no dirt,
but blood.

And gradually,
the blood is washed away...

...and the empire of white
is reborn...

...forming an abstract stain...

...that leads us to the end
of one of the most difficult...

...and ugly moments
in Brazil's history.

The doctor tells us now,
at the end of the film...

...what would be the opening
of the film.

Who he is, what he has
come to do...

...what he thinks
and what he achieved...

...in all his years of
practice at Carandiru.

The train stops
at Carandiru station...

...in front of the penitentiary,
and the doctor...

...on a new working day, returns,
as he has done for 14 years...

...for another day of weekly
volunteer medicine.

This text is from the prologue
of Drauzio's book.

And our story ends here.

With the film almost ready,
we were rewarded...

...with the surprise of
the implosion of Carandiru...

...by the authorities of
the state of S�o Paulo...

...a spectacle we registered
with nine cameras...

...on a gray morning
in December, 2002.

This is a film that consumed
three and a half years of my life.

I began preparations
at the beginning of 1999.

The script was completed
at the end of 2001...

...the movie was shot in 2002
and made its debut in 2003.

It would have been impossible
to make this film...

...without the persistence and
writings of Dr. Drauzio Varella...

...in his book Esta��o Carandiru.

All the names seen in the credits
have a special meaning...

...to the existence of this film.
Thank you very much.