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  São filmes como esse que me orgulham da minha cultura.
  A forma como ele retratou os acontecimentos foi muito bem feita e realista, eu me senti lá na Bahia no meio do povo, eu estava do lado Zé do burro junto as suas convicções, um homem simples que queria apenas concluir o pedido que lhe foi atendido, e que apesar de todos os empecilhos, no final das contas o seu desejo foi cumprido. O final é impactante e forte (deve ter sido um tanto escandaloso para a época).
  Uma obra de arte que irá perdurar por anos e anos, obrigada Anselmo Duarte e Dias Gomes.
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  Igreja versus fé; popular versus institucional. Indivíduo e comunidade. Emoção ou razão. Política ou manifestação.

  Dos contos mais ricos e emocionantes colocados em película no Brasil.

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  The disparity between a humble landowner and the authoritative doctrinaires of the Catholic Church is just one of the explored confrontations in O Pagador de Promessas, which, to date, is the only Brazilian film rewarded the Palme d’Or at the Cannes Film Festival. Based on a Dias Gomes stage play and adapted and directed by Anselmo Duarte, who despite never being part of the Cinema Novo inner circle has created a study of an impoverished man from a rural area which shares many comparable characteristics to those affiliated to the sociopolitical film movement.

  It accounts the story of Zé, a humble and pious man who prays, with the assistance of a Candomblé orisha, for his beloved debilitated donkey to recover…

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  A igreja nunca, NUNCA vai ficar na frente da miscigenação, da cultura do povo, da expressão máxima de rebelião, o Candomblé. Mas é verdade, não dá pra ser honesto e puro de coração sem sofrer as consequências de uma sociedade onde todo mundo — de repórteres e policiais a donos de bar e padres — só está aí pra seu próprio ganho. O Pagador de Promessas é um filme baianíssimo, brutal em sua mensagem e atuado/dirigido perfeitamente. Não se esqueçam: Anselmo Duarte ganhou de Antonioni, Bresson, Buñuel, Lumet, Agnès Varda e Satyajit Ray… A Palma de Ouro já foi nossa! Ainda há esperança pro cinema brasileiro!

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  «Parece que tô vendo as coisas ao contrário do que elas são. O céu no lugar do inferno, o demônio no lugar do santo».

  O grande vencedor da Palma de Ouro no festival de Cannes em 1963, uns dos maiores, senão o maior ato do cinema brasileiro, filme dirigido pelo Anselmo Duarte baseado na obra do Dias Gomes. «O Pagador de Promessas» é um drama primoroso, e depois de tantos anos não perdeu sua contemporaneidade, de fundo religioso, político e social, vai muito além, e contrasta brilhantemente com a diversidade do nosso país e retrada a intolerância religiosa de forma sublime, é o típico filme que sempre vai ser lembrado, que nunca vai ficar velho é impressionante como consegue falar…

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  A Brazilian man makes a promise to St. Barbara to take a cross on his shoulders over to St. Barbara cathedral if his most precious thing, his donkey, recovers after falling back ill. When the donkey gets better, he sets out to fulfill his promise, but once he arrives, the head priest don’t allow him to take in the cross, and so does a battle begins. Rumors start spreading out, and in no time, the man starts to become a folklore hero.

  If you have been following my reviews, especially for early Brazilian movies, you will know they don’t tend to be too much of my taste, especially those from the «cinema novo.» Mostly because the movement itself claims to…
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  Rewatching this I finally come to the conclusion that Anselmo Duarte sort of deserves the Golden Palm he won as anyone who made a play as cringe worthy as the Dias Gomes one this is based into such an absorbing movie is clearly very talented. There’s not a character, action or dialogue that isn’t overwritten and desperate for meaning (it also stinks of the very worst mystification of the ordinary working man from Brazilian political mind fiction of the period). What keeps the movie afloat besides Leonardo Villar strong lead performance is that Duarte is a very practical director with a training in social comedy, so although the strings are overly visible and the movie often treats to fall apart…

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  essa trilha sonora é uma maravilha🤌🤌

  ➡️Filmes Nacionais rankeados

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  Ganhador da Palma de Ouro em Cannes, primeiro filme brasileiro a ser indicado ao Oscar, porém o que torna esse filme eterno não são os festivais por onde passou, mas as diversas leituras que ele permite com seu protagonista e demais personagens ao redor.

  Para aplaudir de pé!

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  “let’s remember jesus’ speech: ‘because false prophets and false christs will appear and perform great signs and miracles to deceive even the elect.’”
  
  oh, the irony. that’s a quote the antagonist, an oppressive corrupt priest, said in the film.

  i’ve always struggled with the church and how manipulative it is. the given word is about how one’s faith and the church can be separate from one another, and i’m at the point where i don’t want to affiliate myself with a religion that goes against everything their god stands for and is so harmful towards marginalized communities, specifically the lgbtq+ community. this film gives me a sense of comfort and gives validity to my experiences with religion and my decision to no longer consider myself a christian but still believe in jesus and his teachings. the given word is a powerful film with an insanely important message, and one that’s very personal to me.

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  This review may contain spoilers. I can handle the truth.

  Don’t you just hate it when you go to all the trouble of traipsing for miles with a heavy crucifix on your back only for your missus to get off with the local pimp. A pimp called ‘Handsome’ no less.

  While Zé is focused on convincing the priest to allow him into the church to fulfil his ‘promise’ to Santa Bárbara by dropping his enormous cross at the alter, his young wife Rosa is getting her jiggy on with Handsome and feeling all kinds of guilt. It’s OK though, apparently Santa Bárbara made her do it.

  This is nice enough, and clearly has appeal as winner of the Palm D’or at Cannes, but I just couldn’t take it seriously. I mean come on, travelling by foot with a giant crucifix on your back as penance for God saving your pet donkey…

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  100 Classics to See in 2019 ~(12/100)~

  This is both one of my best discoveries and surprises in a while. I had never heard of it until I saw it ranked highly on LB’s top 250 and only realized shortly before watching that it was a Palme d’or winner. I expected something dry that I would struggle to relate to but instead found an incisive satire that scrutinizes organized religion and the media but provides insight into an individual’s relationship to their faith. I’d compare it to Ace in the Hole before many of the religious movies I expected this to be more like. It’s a masterpiece on an equal level.