Casa de Areia

This is a stunning film, visually and emotionally. Although rooted in a forsaken sandy wasteland, the film is a metaphor for how circumstance locates us and how we can or cannot get out of the place in which we find ourselves. House of Sand MUST be seen on the big screen--never has landscape been more compelling! It's a literary film, which is to say that it is not full of exciting, unrealistic events. How the film manages a shift of time is briefly disconcerting and then brilliant. The story deals with the ramifications of an accident, the damaged psyche of a man, and takes us through what his survivor does to cope. This is definitely foreign film at its best!

From Brazil begins this unusual tale taking place in their early 20th century's untamed deserts, leading a distraught man, his wife, with family and following, to the absurd notion of settling into the middle of an elusive waterhole, centered in the middle of an endless sandscape, into one eventual House of Sand. What transpires from the mysterious setup of this piece is captured with quite dignity, accentuated with the production values that would have any techie humbled by the tough shoot this crew must have undergone to balance the artsy direction to the harsh environment. It is to the film's detriment then, that the vast majority of time is spent milking the unique aesthetics involved here, insensitively editing many of the beautifully photographed shots which adds up to a whole that unwittingly imitates it's protagonist's plight a little too closely- that of sinking into the ground of nothingness. Fortunately a cleverly conceived, though questionably rendered plot device snaps the viewer's interest back late in the game, even rounding out the mostly one trick affair on a profound note. This extra dimension carved out in the third act does save this House from blowing away for the artistic excuse a lot of it seems to be.

This movie is frustrating to watch because it had such strong potential to be a sweeping drama that intertwines the wonders of nature and humanity through the passage of time.

It started out swimmingly in the waves of pastured wind blown sand and dunes. But slowly it gives way to lack of plausibility and stifled characters, focusing instead on the sweeping white-washed landscape to drive the movie.

While the actress playing the daughter is a competent actress, she is just not right for the role. This is the character which holds the thread of time throughout the entire movie, from the past (with her mother) to the present (herself) and future (her daughter), a parallel for the changes in the world (via Brazil) from the early 1900's to the 1960's. For this to work, this main character needs to have the ability to draw one in, such that one inadvertently has the emotional perspective of things through her eyes. This could not be achieved with this actress, hence one remains but simply an observer of an obstinate unlikeable woman plodding along a very uneven plot, too consciously framed by wonderful landscapes. It enriches the eyes, but not the heart and spirit.

The quick jump of time frame doesn't help, especially when no proper explanations are provided for improbable event.s Example: how did two woman with no farming resources nor skill amass a herd of goats? Or, how did they get an endless supply of clothing's for three woman if they are supposedly so far removed from civilization that they can't even leave the place? Or, why chop down a tree for no reason when she could enquire from nearby others where her daughter and mother was? Why suddenly have sex with the man (for the first time) in broad daylight when there was opportunities a plenty through the many many years? And on and on….

Utilizing the same two actresses to play each other in successive generations is a big mistake - they are so unalike in looks and characters, the ploy just make it jarring and disconnected … dissociating the viewer further from these characters.

In the end, one has to just ignore the emotionally distant characters (except the mother/grandmother) and disconnectedness of it all and just enjoy the sceneries. It seems the director is trying hard to just string scenes together, and creating implausible situations and disjointed dialogue just to get some particular outcome, and hope the plot holds up … it doesn't unfortunately.

Like the sand dunes, this one builds up early but get blown away in bits, and in the end remains just something visually 'nice' but only in temporary form, and from a distance.

This is a beautiful, poignant movie that reminded me of "The English Patient'. Filmed in the deserts of the Brazilian state of Maranhao it has stunning scenery that brings a backdrop of authenticity to the story line. I recommend viewing 'the making of' featurette, which depicts the difficulties, encountered in filming in such a harsh environment. It is interesting to note that although there are relatively few characters, the story can still rivet. I was able to identify with the main characters and feel their emotions. I do admit that the story is slow at first but in the end, it will leave you smiling and clamoring for more.

The one negative comment I have is about the scene(s) that caused the film to be rated 'R'. Although I can understand the need for it, I think the producer could have use some restraint and toned it down a bit, this would have made for a different rating and permitted a broader audience to appreciate this gem.

I kept the postcard. I had narrowly missed this film when I was in Brasil, where it went on to run for 14 consecutive weeks. They had those little free postcards they use to advertise just about anything these days. The House of Sand postcards were particularly beautiful, so I took them home and kept them.

More than a year later, the postcards are in a dusty folder somewhere, but the image remains in my mind, and leapt out at me when I saw the film advertised in the 2006 Edinburgh International Film Festival. It's one of those exquisite photos, rivalling even The English Patient, and conveys stark beautiful lighting, a woman, and white desert dunes. Worth seeing for the cinematography alone surely, but it turns out to be one of those gems that every festival-goer prays for.

On the shimmering sandy plains of northern Maranhão, three generations of women live dreams and passions unwillingly inherited, experiencing profound depths of despair and fulfilment. Opening scenes of sweeping white sand dunes focus in to the wind and weather torn faces of a small stream of people, battling forward. Áurea has come to this wilderness at the will of her husband, who has some title deeds near a lagoon. Twists of fate soon leave her isolated in this desolate place with only her mother, Dona Maria, and pregnant. At first desperate to find a way out, Áurea gradually comes to realise she belongs here.

The scenery (shot in beautiful 2K widescreen) brings together the ferocity of nature and the elements, reflected in the passion of the leading character, her indomitable spirit, and her adaptability. Bringing together some of the finest talent in Brasil, House of Sand works on a visual and dramatic level that is heightened by an artistry that is almost metaphysical. In the wilderness, a person's relationship with themselves becomes different, as happens with Áurea. There is just you - no emergency services to fall back on. The senses are turned in on themselves and the workings of the 'real world' become less important. In the film, a long period of time is marked by various events, either astronomical (the solar eclipse photographed by scientists in Brasil in 1919 that led to the proof of Einstein's theory of relativity), or completely external (a war, and later the landing of a man on the moon) to the real world lived in by these women over a period of 60 years. The desert is the nothingness, the shifting sands to which all return. The relativity within their lives forms an ongoing story that moves from the woman to her daughter. This continuity is reflected symbolically by both lead actresses playing different women at different periods of those characters' lives - although the make-up is sufficient to maintain a straightforward, linear story (although as well as being two of the most renowned actresses in Brasil, they also happen to be real life mother and daughter).

Dialogue and background music are both pared down to enhance the images and scenes. Said scriptwriter Elena Soáres, "Dialogue is something dangerous because it is almost the opposite of cinema. One can fall into a trap. One tends to resolve everything through dialogue but cinema works with another peculiarity. It resolves itself with the image." Similarly music is an important theme, the thing that Áurea most misses, so is not added in the usual overt way just as background.

For Áurea, the wilderness she lives in, its nothingness, is the absence of all that is desired. Sand that even (at one point) covers her physical house. But, like the men who went to the moon - all that was there was nothing - in that search was found something that no physical prize could equate. House of Sand is one of those timeless masterpieces that occurs very infrequently. It is the jewel that makes worthwhile wading through an endless smorgasbord of lesser films to find.