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Pixote

Pixote: A Lei do Mais Fraco (English: Pixote, the Law of the Weakest) is a 1980 Brazilian crime drama film directed by Héctor Babenco, centering on the survival struggles of marginalized street children in São Paulo amid systemic neglect and institutional brutality.^[1] The film employs a neo-realist approach, casting non-professional actors recruited from the streets, including 11-year-old Fernando Ramos da Silva in the titular role of Pixote, a resilient yet vulnerable boy navigating petty crime, exploitation, and violence.^[2] Babenco co-wrote the screenplay with Jorge Durán, drawing from real-life accounts to portray the causal chain of poverty, failed child welfare systems, and descent into criminality without romanticization.^[3] The narrative follows Pixote's experiences in reformatories, street hustling, drug trafficking, and involvement in child prostitution, culminating in a raw depiction of moral and physical degradation that underscores the inefficacy of state interventions in protecting vulnerable youth.^[4] Critically acclaimed for its unflinching realism, Pixote received the New York Film Critics Circle Award for Best Foreign Language Film and was nominated for a Golden Globe in the same category, influencing international perceptions of urban decay in developing nations.^[5] In Brazil, initial backlash from authorities for its exposé of corruption gave way to recognition as a landmark of national cinema, ranking 12th among the greatest Brazilian films in a 2015 critics' poll.^[1] A defining controversy emerged posthumously with Ramos da Silva's death at age 19 in 1987, shot by police during a confrontation in a São Paulo slum, an event that mirrored the film's themes of inescapable cycles of violence and raised questions about the homicide's circumstances amid allegations of extrajudicial killings targeting favel residents.^[6]^[7] Despite brief fame, Ramos da Silva returned to crime, highlighting the film's prescient critique of superficial interventions failing to address root causes like family breakdown and economic despair.^[2]

Production

Development

Pixote originated as an adaptation of José Louzeiro's 1977 novel Infância dos Mortos, a work rooted in journalistic reportage on the lives of abandoned street children in Brazil, emphasizing documented patterns of family breakdown and juvenile delinquency rather than purely invented scenarios.^[8] The screenplay, co-written by director Héctor Babenco and Jorge Durán, transformed these accounts into a script aimed at exposing the causal chains of urban marginalization, including parental abandonment and institutional inefficacy.^[1] Héctor Babenco, born in Buenos Aires, Argentina, in 1946 and having relocated to Brazil in the early 1970s, drew directly from his firsthand encounters with São Paulo's escalating urban poverty and child vagrancy during the late 1970s, a period marked by the Brazilian military dictatorship's (1964–1985) policies that concentrated wealth while neglecting social welfare for the underclass.^[9] Babenco's intent was to eschew sentimentalism, instead constructing a narrative grounded in observable social dynamics, such as the progression from domestic neglect to street survival through petty crime and exploitation.^[1] Pre-production involved extensive fieldwork to ensure fidelity to these realities: Babenco and Durán logged roughly 200 hours interviewing adolescents in São Paulo reformatories, gathering testimonies on experiences like police brutality, gang initiation, and failed rehabilitation efforts, which shaped the film's depiction of systemic failures driving youth into criminal orbits.^[1] This research underscored a docudrama methodology, prioritizing verifiable causal factors—such as economic disparity and absent familial structures—over abstract moral judgments, to highlight how environmental pressures forge trajectories of deviance from an early age.^[9]^[1]

Casting

Director Héctor Babenco conducted an extensive casting process, recruiting and testing hundreds of untrained boys from São Paulo's impoverished neighborhoods to populate the film's street youth roles, prioritizing those with direct experience of marginalization for unfiltered authenticity.^[1] For the lead role of Pixote, Babenco selected 11-year-old Fernando Ramos da Silva, a non-professional from the Diadema slums with no acting background beyond brief preparatory lessons, chosen specifically for his expressive, world-weary eyes that embodied the character's hardened resilience.^[10] This decision deliberately eschewed established child performers to capture spontaneous behaviors rooted in real survival instincts, rather than rehearsed or sanitized interpretations.^[1] The supporting cast similarly drew from actual street children and favela residents, including Jorge Julião as Lilica and Gilberto Moura as Dito, fostering organic ensemble interactions that mirrored unscripted group dynamics among the homeless.^[11] Professional actors were confined to adult roles requiring narrative anchoring, such as Marília Pêra's portrayal of Sueli, a sex worker, to maintain structural coherence while preserving the raw verisimilitude of the juvenile elements.^[4] Babenco's method traded potential ethical safeguards for heightened realism, exposing vulnerable non-actors—many under 14—to depictions of violence, exploitation, and moral ambiguity without the buffers typical for trained minors; da Silva's subsequent return to crime and fatal shooting by police at age 19 in 1987 underscored the risks of such immersion without sustained post-filming intervention.^[6]^[12]

Filming

Principal photography for Pixote was conducted on the streets of São Paulo, in juvenile reformatories such as FEBEM, and in parts of Rio de Janeiro, capturing the raw environments of urban marginality through on-location shooting rather than studio sets.^[13]^[3]^[14] The production adopted a documentary-style approach influenced by Italian neorealism, utilizing nonprofessional actors—many real street children—to enable improvised scenes depicting theft, violence, and survival tactics amid unfiltered city chaos.^[2]^[14] Filming relied on minimal equipment, including unobtrusive cameras for close, immersive footage and natural lighting to reflect the gritty, uncontrolled conditions of the subjects' lives, eschewing artificial setups for authenticity.^[1] This low-resource method, supported by coproduction from state entity Embrafilme, allowed a small crew to navigate hazardous settings without extensive permits.^[1] The shoots occurred amid Brazil's military dictatorship (1964–1985), a period of strict media censorship targeting content on repression and social ills; Pixote's unflinching portrayal of police brutality and institutional failure prompted evasive tactics to secure spontaneous, unhindered captures, avoiding official scrutiny that could have sanitized the material.^[1] Post-production editing in 1980 emphasized chronological sequencing to retain the unadorned progression from reformatory confinement to street criminality, trimming any artificial intrusions while amplifying observed causal patterns in youth delinquency.^[15]

Content

Plot

Pixote, a ten-year-old boy living on the streets of São Paulo, is arrested during a police roundup of homeless children and sent to a notoriously corrupt juvenile reformatory.^[16] Inside, he endures physical and sexual abuse from guards and older inmates, witnesses the torture and murder of fellow detainees by corrupt officials who frame innocent boys for the crimes, and participates in the formation of protective gangs among the youth.^[2] After his close friend is killed, Pixote escapes the facility alongside peers including Dito and Chico, navigating a perilous climb over rooftops to reach freedom.^[16] Once back on the streets, the group sustains itself through petty crimes such as purse snatching and glue sniffing, later aligning with an adult criminal named Fumaça who recruits them for drug trafficking operations, including attempts to smuggle narcotics across the Argentine border.^[2] Encounters with law enforcement intensify as they evade pursuits, but the alliance fractures when Fumaça is killed by a rival gang during a violent confrontation.^[16] The boys then fall under the influence of Sueli, a prostitute who briefly shelters Pixote and integrates him into her world of sex work and drug dealing, during which further betrayals and killings occur among associates.^[2] Following Sueli's rejection of Pixote amid her own entanglements, including a pregnancy, he finds himself abandoned once more, ending the narrative as he walks alone down a remote dirt road, glancing back toward the camera.^[16]

Characters

Pixote, portrayed by non-actor Fernando Ramos da Silva, embodies a child whose survival on the streets demands constant resourcefulness and quick adaptation to threats, behaviors rooted in documented patterns of familial abandonment among Brazil's marginalized youth in the late 1970s.^[17] His arc illustrates a progressive hardening, marked by escalating involvement in petty crime and evasion tactics, without evident moral introspection or softening, aligning with observable survival imperatives over abstract ethical growth.^[2] This portrayal draws from real conditions of broken families driving children to street autonomy, rather than portraying innate resilience as virtuous.^[18] Among Pixote's companions, figures like Dito and Lilica highlight interpersonal dynamics where provisional loyalty yields to betrayal when self-preservation overrides group ties, as seen in their shifting alliances amid resource scarcity and external pressures.^[2] Lilica, a transgender youth acting as a quasi-parental figure through exploitative relationships, exemplifies how street hierarchies form around utility—offering protection or income—only to fracture under competition or fear, driven by immediate needs like shelter and sustenance rather than ideological cohesion.^[19] These interactions reflect empirical street group behaviors, where trust erodes amid chronic instability, without romanticized solidarity.^[20] Adult characters such as Sueli, a prostitute entangled with the youths, and Fumaça, a drug-initiating associate, function as enablers in a predatory underclass cycle, profiting from or perpetuating the children's vulnerabilities through transactional dependencies like pimping and substance introduction.^[9] Sueli's role underscores mutual exploitation, where her aging and illness foster reliance on youthful accomplices for income, while Fumaça's marijuana affinity normalizes escalation into riskier habits as a bonding mechanism, both behaviors sustaining predation over uplift.^[20] ^[3] The film's characters collectively lack redemptive trajectories, mirroring documented recidivism rates among vagrant youth, as evidenced by Ramos da Silva's own fatal encounter with police at age 19 in 1987, underscoring causal persistence of street-hardened patterns absent intervention.^[21]

Themes and Analysis

In Pixote, the protagonist's trajectory from a reformatory to street crime is precipitated by familial abandonment and dysfunction, mirroring empirical patterns in 1970s Brazil where rural-urban migration disrupted traditional family structures and elevated child neglect rates. Rapid urbanization during this decade saw Brazil's urban population grow at an annual rate peaking at 5.2%, as rural families migrated to cities like São Paulo in search of economic opportunities, often leaving children behind or unable to sustain cohesive households amid industrial pressures and housing shortages.^[22] By 1978, approximately 16 million children nationwide faced severe deprivation, with many abandoned due to parental economic migration and inadequate support systems that disincentivized family stability over temporary urban labor.^[23] This portrayal privileges family breakdown as the root catalyst, supported by studies linking street child emergence to parental abandonment amid modernization, rather than poverty alone, which often coexists with intact families elsewhere.^[24] The film's depiction of escalating theft, drug involvement, and prostitution illustrates crime cycles as calculated responses to anarchic street environments with minimal accountability, where low detection risks and immediate gains outweigh long-term costs for survival-oriented youth. Brazilian law at the time shielded minors from adult penalties, enabling organized crime syndicates to exploit children for high-margin activities like smuggling and extortion, fostering rational but habituated delinquency. This challenges attributions of criminality primarily to systemic poverty or police aggression—prevalent in some academic narratives influenced by structural determinism—by emphasizing individual agency and moral hazards, as characters like Pixote opt for repeated violations despite glimpsed alternatives, accelerating personal ruin in unchecked settings.^[25] Empirical data from São Paulo's favelas corroborates that while economic scarcity contributes, opportunistic choices in low-enforcement zones predict recidivism more directly than deprivation metrics alone. Police corruption and reformatory inefficacy, rendered as institutional enablers of vice rather than sole progenitors, reflect broader decay under Brazil's military dictatorship, where brutality and graft permeated oversight bodies. Reports from the era document widespread police ill-treatment and procedural irregularities in juvenile facilities, turning supposed rehabilitation centers into crime academies that amplified rather than deterred predatory behaviors.^[26] Yet the narrative causal chain stresses personal accelerators—such as deliberate alliances with corrupt figures or rejection of restraint—as pivotal, countering views that overstate institutional determinism while downplaying agency in causal sequences.^[27] While Pixote effectively highlights street survival perils, including elevated violence exposure for an estimated 7 million family-detached youth by the late 1970s, some analyses critique its relative underemphasis on eroded traditional values and community norms as cultural amplifiers of vulnerability.^[28] Dysfunctional families often stem from prior societal shifts away from familial and religious anchors, which buffered earlier generations against similar stressors, per cross-cultural reviews of modernization's disruptive effects.^[24] This balance acknowledges the film's data-driven exposure of raw urban perils without excusing outcomes via collective blame.^[29]

Stylistic Approach and Realism

Pixote employs neo-realist techniques rooted in Italian influences, such as on-location shooting in the streets of São Paulo and Rio de Janeiro, to achieve a documentary-like veracity that captures the raw environments of urban poverty.^[2]^[1] Director Héctor Babenco cast nonprofessional actors, primarily street children discovered in similar circumstances to their roles, enabling performances that reflect authentic behaviors and survival instincts rather than rehearsed portrayals.^[2]^[30] This approach extends to improvised dialogues incorporating real street slang and unscripted contributions from the young cast, which mirror the unpolished vernacular and ad-hoc decision-making of marginalized youth.^[2]^[1] Cinematography by Rodolfo Sanches utilizes handheld cameras sparingly to maintain unobtrusiveness, following characters in a manner that simulates unmediated observation and heightens the sense of immediacy without contrived setups.^[1] The film's minimalist soundtrack avoids emotive scoring that might artificially amplify sentiment, preserving the starkness of events and preventing falsified emotional cues typical in more manipulative narratives.^[4] These elements collectively eschew polished production values, yielding incidents that appear un-orchestrated, as if the camera trails lives devoid of narrative contrivance.^[2]^[30] While these methods confer a veneer of unvarnished truth by documenting observable patterns of behavior, the realism has boundaries: narrative framing and occasional stylized insertions, such as hallucinatory sequences with altered palettes, introduce directorial intent that diverges from impartial ethnography, potentially staging moments for heightened impact.^[1]^[30] Nonetheless, the film's episodic structure rejects Hollywood conventions of heroic arcs or redemptive closures, instead tracing inexorable declines without imposed uplift, distinguishing it from sentimentally resolved tales of hardship.^[2]^[1]

Release

Premiere and Distribution

Pixote had its Brazilian premiere on September 26, 1980, in a limited release.^[31] The film debuted internationally at the New Directors/New Films Festival in New York on May 5, 1981, followed by a U.S. theatrical release distributed by New Yorker Films in September 1981.^[31]^[9] Coproduced and initially distributed domestically by the state-run Embrafilme, it navigated Brazil's military dictatorship era (1964–1985), where media censorship was common, though no specific bans or cuts were imposed on the film.^[1] Its stark portrayal of street youth exploitation and institutional failures contributed to constrained initial screenings in Brazil, restricting it to select theaters amid broader regime oversight of provocative content.^[1] Internationally, it gained traction through arthouse channels, attracting over 2.5 million viewers worldwide, reflecting niche appeal over mass commercial success with no reported blockbuster earnings.^[1] Subsequent home video editions, including a 2020 Criterion Collection Blu-ray/DVD restoration enhancing the original 35mm print without content alterations, have broadened access via streaming and physical media.^[32]^[33]

Reception

Critical Response

Upon its release, Pixote garnered significant critical acclaim for its raw depiction of street children's hardships in Brazil, with reviewers highlighting its documentary-like candor and emotional depth. Roger Ebert, in a 2004 retrospective designating the film a "Great Movie," praised its tragic authenticity, noting the episodic structure that captures the inexorable pull of urban survival on a child protagonist who "survives by his wits and his instincts" rather than heroic virtues.^[2] Similarly, Pauline Kael's 1981 New Yorker review commended the film's poetic realism in portraying slum youth unable to read or write, framing their existence as an unsparing reflection of societal undercurrents.^[34] Critics also voiced reservations about the film's unrelenting brutality, arguing it evokes revulsion toward systemic failures without proposing pathways out of despair. A 1992 Los Angeles Times assessment described Pixote as revealing the "mean streets" of Brazilian youth but critiqued its focus on oppressive environments that trap characters in cycles of crime, potentially prioritizing shock over constructive insight.^[35] Debates emerged on whether the narrative exploits real suffering for visceral impact, with some observers questioning if the non-professional child actors' reenactments of abuse blurred ethical lines between documentation and sensationalism.^[36] Aggregated metrics underscore a strong consensus on the film's evidentiary power in exposing juvenile marginalization, though interpretations diverge between social indictment and deterministic fatalism. On Rotten Tomatoes, it holds a 94% approval rating from critics, reflecting praise for its unflinching realism amid sparse reviews.^[4] Dissenting analyses challenge an overreliance on victimhood narratives, emphasizing instead behavioral agency—such as Pixote's adaptive cunning and moral descent—as causal drivers of outcomes, rather than solely external forces.^[2] This variance highlights the film's provocation of causal realism over purely empathetic framing.

Awards and Nominations

Pixote competed in the main competition at the 34th Locarno International Film Festival, where it won the Silver Leopard award in 1981.^[37] The film also received the OCIC Award at the San Sebastián International Film Festival that year.^[38] In the United States, it earned the New York Film Critics Circle Award for Best Foreign Language Film in 1981.^[39] The Los Angeles Film Critics Association similarly awarded it Best Foreign Film in 1981.^[39] At the 39th Golden Globe Awards in 1982, Pixote was nominated for Best Motion Picture – Non-English Language.^[40] The Boston Society of Film Critics recognized the film with awards for Best Film and Best Actress for Marília Pêra's performance in 1982.^[15] Brazil submitted Pixote as its entry for the Best Foreign Language Film category at the 54th Academy Awards in 1982, but the film was disqualified from consideration.^[39] No nominations followed from the Academy.

Legacy

Pixote catalyzed public and academic discourse on street children in Brazil during the 1980s, exposing systemic issues in juvenile detention and urban marginalization through its raw depiction of youth survival in São Paulo and Rio de Janeiro. The film's release aligned with growing awareness of police sweeps and reformatory abuses, influencing perceptions of policy shortcomings without directly driving legislative changes.^[41]^[1] Internationally, Pixote reinforced neo-realist cinematic traditions focused on social realism, paving the way for later Brazilian films like City of God (2002), which drew parallels in portraying child involvement in favela crime and organized violence.^[42]^[43] This legacy extended to scholarly examinations of youth crime depictions, where Pixote is cited as a benchmark for unfiltered portrayals of street life and institutional failures.^[18] While the film elevated visibility of police-youth conflicts and inspired advocacy for vulnerable populations, subsequent data reveals persistent urban challenges. Child and youth homicide rates in Brazil surged 476.4% from 1980 to 2014, with overall homicides per 100,000 population rising from 11.7 in 1980 to 28.9 by 2003 before a modest decline.^[44]^[45] These trends, more than doubling nationally by 2002, highlight the constraints of awareness-raising efforts absent structural reforms in addressing vagrancy and violence.^[46]

Post-Production Events

Following the completion of Pixote in 1980, lead actor Fernando Ramos da Silva, then aged 12, attempted to pursue acting opportunities, including minor roles in Brazilian television and films such as Gabriela (1983), but found limited success.^[6] He resumed involvement in petty crime in São Paulo's Diadema neighborhood, leading to multiple arrests. On August 25, 1987, at age 19, da Silva was killed by police during an alleged confrontation after a burglary attempt; official reports described it as a shootout in which he resisted arrest, but an autopsy revealed eight bullet wounds, including six to the chest, with forensic evidence indicating he was shot while lying on the ground from above, fueling claims of homicide or extrajudicial execution.^[7]^[6]^[47] Director Héctor Babenco achieved international recognition post-Pixote, directing Kiss of the Spider Woman (1985), which earned four Academy Award nominations including Best Director and Best Picture.^[48] He transitioned to Hollywood with Ironweed (1987), starring Jack Nicholson and Meryl Streep, followed by At Play in the Fields of the Lord (1991) and returning to Brazil for Carandiru (2003), a prison drama inspired by real events.^[48] Babenco died on February 13, 2016, at age 70 from a heart attack.^[48] Many of the film's non-professional child actors, recruited from São Paulo's street populations, lacked formal support or intervention programs despite the movie's global profile highlighting their plight; da Silva, for instance, received no government assistance to transition from street life, and reports indicate he and similar cast members reverted to survival activities in favelas. This absence of institutional aid underscored broader systemic failures in addressing juvenile vulnerability in Brazil during the 1980s.^[1]

Controversies

Ethical Concerns in Production

The production of Pixote (1980) involved casting approximately 100 non-professional child actors recruited from São Paulo's streets and reformatories to portray the harsh realities of urban marginalization, with lead Fernando Ramos da Silva, aged 11 and illiterate, selected after auditions emphasizing survival instincts over acting experience.^[41] Director Héctor Babenco justified this approach as essential for authenticity, arguing that professional child actors could not replicate the desensitized demeanor of street youth exposed to violence, prostitution, and drugs from early ages.^[41] Scenes required the children to reenact nudity, simulated sexual acts, glue-sniffing, and confrontations with authority figures, often drawing directly from their lived traumas, which Babenco claimed were not coerced but emerged organically to avoid artificiality.^[41] Despite these defenses, the absence of formalized psychological support or consent protocols—standard in modern child actor protections but unavailable in 1980s Brazil—prompted retrospective ethical scrutiny over potential exploitation and retraumatization.^[1] Babenco provided on-set necessities like food and clothing, and attempted post-production schooling for some participants, yet da Silva's family reported these efforts as insufficient, with no sustained intervention to prevent reversion to criminal survival strategies mirroring the film's narrative.^[6] Da Silva's death in a 1987 police shootout at age 19, alongside similar fates for other cast members who returned to street life without educational or vocational aid, underscored vulnerabilities exacerbated by the production's emphasis on raw realism over long-term welfare safeguards.^[6] Proponents of the method, including Babenco, maintained that sanitized alternatives with trained performers would dilute the causal depiction of institutional abandonment and street predation, diminishing the film's evidentiary power to expose systemic failures in juvenile reformatories and policing.^[41] This trade-off achieved heightened documentary-like impact, as evidenced by international acclaim for unveiling unvarnished conditions, but critics post-da Silva's death highlighted the irony of a film critiquing societal neglect while arguably perpetuating it through inadequate actor aftercare.^[6]^[1]

Interpretations and Debates

Interpretations of Pixote often frame the film as a stark indictment of socioeconomic inequality and institutional neglect in 1980s Brazil, portraying street children as inevitable victims of systemic oppression rather than agents in their own moral descent. Critics such as Roger Ebert described the protagonists as "abandoned by their mothers, thrown away by society," emphasizing the state's failure to protect vulnerable youth from poverty's corrosive effects.^[2] Similarly, analyses highlight the film's exposure of juvenile detention centers' brutality and the child welfare system's collapse, interpreting these as evidence of broader societal indifference to urban underclass plight.^[4] Such readings, prevalent in mainstream reviews, position Pixote as an anti-oppression manifesto, urging structural reforms to address root causes like economic disparity and inadequate social services.^[41] Countering these systemic narratives, alternative perspectives grounded in observable patterns of family disintegration and interpersonal predation argue that the film underscores individual agency amid eroded traditional structures, rather than excusing criminality through perpetual victimhood. In São Paulo during the 1970s and early 1980s, urban violence surged, with robberies escalating dramatically—bank heists alone rising from one in 1965 to 37 by 1968—and youth gangs increasingly dominating petty theft and extortion, exploiting legal loopholes that shielded minors from full prosecution.^[49] This data challenges normalized pity-driven accounts by revealing self-perpetuating cycles of predation, where absent familial authority and unchecked feral groups foster predation over passive suffering, as depicted in the characters' escalating violence independent of external intervention.^[30] Debates surrounding the film's portrayal of police further illuminate tensions between institutional critique and the imperatives of order. While Pixote depicts officers as corrupt and abusive, contributing to youth radicalization, real-world outcomes like the 1987 police shooting of lead actor Fernando Ramos da Silva—then 19, killed during a robbery confrontation after reverting to slum crime—exemplify enforcement's retributive necessity against persistent threats from unintegrated predatory networks.^[6]^[2] Proponents of stricter agency-focused views contend that such depictions risk sentimentalizing antisocial behavior, potentially undermining public support for decisive measures against youth-led disorder, though the film's unflinching rawness commendably documents empirical realities without overt moralizing.^[1] Critics from this standpoint praise its provision of unvarnished evidence on predation's human costs, while cautioning against interpretations that prioritize pity over accountability, which could normalize excuses for recidivism evident in the era's crime trajectories.^[50]

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### Summary of Filming Process for *Pixote: Out in the Streets*
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Apr 14, 2024 · Shot like a documentary, Pixote is an elegy for all abandoned children whose futures are stripped away and painted in the same dreary colours ...Missing: post- | Show results with:post-<|control11|><|separator|>
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Awards - Pixote (1980) - IMDb
1982 Nominee NSFC Award. Best Director. Hector Babenco. Pixote (1980). 1982 Nominee NSFC Award. Best Film. 4th Place. New York Film Critics Circle Awards.Missing: summary | Show results with:summary
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Pixote - Golden Globes
Pixote. The life of a boy in the streets of São Paulo, involved with crimes ... Golden Globe Awards. 1982 Nominee. Best Motion Picture – Non-English Language.
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'I TRIED TO SHOW HOW YOU DESTROY THE INNOCENCE OF A ...
Sep 6, 1981 · '' To this list can now be added Hector Babenco's ''Pixote.'' This Brazilian drama of juvenile delinquents grappling with ineffective reform ...Missing: pre- research
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The City of God phenomenon: a new interview with Fernando ... - BFI
Feb 23, 2024 · Were there any Brazilian film influences? I wondered about Héctor Babenco's film Pixote (1981), as a very unvarnished film about street life in ...
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City of God: angels with dirty faces | Sight and Sound - BFI
Feb 21, 2024 · The disturbing combination of violence and organised crime and children – familiar in Brazilian cinema at least since Pixote (Hector Babenco, ...
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[PDF] Homicides of children and adolescents in Brazil - Instituto Igarapé
Dec 4, 2017 · Between 1980 and 2014, the number of child and youth homicides increased by 476.4% and the homicide rate increased by 485%. • Firearm regulation ...
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Crime and violence in Brazil: Systematic review of time trends ...
Homicides per 100,000 increased from 11.7 in 1980 to a peak of 28.9 in 2003, followed by a slight decline thereafter to 26.2 in 2010. There were 50,000 ...
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Homicide Trends and Characteristics --- Brazil, 1980--2002 - CDC
Mar 5, 2004 · During 1980--2002, the homicide rate in Brazil more than doubled, from 11.4 per 100,000 population to 28.4. In São Paulo city, the rate more ...Missing: 1990s | Show results with:1990s
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Police fire officers involved in slum youth's death - UPI Archives
Sep 2, 1987 · Police Wednesday fired three officers involved in the shooting death of 'Pixote,' a slum youth who won fame as an abandoned street urchin in ...
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Hector Babenco: A Timeline of the Director's Film and TV Work
Jan 27, 2021 · 1977 – “Lúcio Flávio” · 1980 – “Pixote” · 1984 – “A Terra É Redonda como Uma Laranja” · 1985 – “Kiss of the Spider Woman” · 1987 – “Ironweed” · 1991 ...
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Crime rates during the Dictatorship years : r/Brazil - Reddit
Jul 29, 2024 · "The main capitals felt urban violence growing—in São Paulo, bank robberies jumped from one in 1965 to 37 in 1968; in one year, robberies ...
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Towards a Critical Theory of Third World Films
The failure of colonialism to convert Africans into “white-thinking blacks” depicted in the film reappears in a much wider symbolic form in his latest film ...