#Mauricio Eça

[movienized-com]

A Menina que Matou os Pais: A Confissão

A Menina que Matou os Pais: A Confissão (2023) #MauricioEça #CarlaDiaz #LeonardoBittencourt #KauanCeglio #BárbaraColen #RodrigoFernandes Mehr auf:

The Girl Who Killed Her Parents: The ConfessionJahr: 2023 Genre: Krimi / Drama Regie: Mauricio Eça Hauptrollen: Carla Diaz, Leonardo Bittencourt, Kauan Ceglio, Bárbara Colen, Rodrigo Fernandes, Allan Souza Lima, Gabi Lopes, Che Moais, Paulo Ribeiro … Filmbeschreibung: Der dritte Spielfilm in der Saga über Suzane Von Richtofen (Carla Diaz) und Daniel Cravinhos (Leonardo Bottencourt). Dieser…

[geekpopnews]

Turma da Mônica Jovem ganha trailer inédito e revela vilão

Os jovens do bairro do Limoeiro estão de volta com um trailer inédito do novo filme da Turma da Mônica Jovem: Reflexos do Medo. Venha conferir! #turmadamonicajovem #filmes #trailer #sophiavalverde

Nesta sexta-feira (01), o novo filme da Turma da Mônica Jovem: : Reflexos do Medo acaba de ganhar um novo trailer. Os jovens do bairro do Limoeiro estão de volta trazendo muito mistério e suspense no novo longa da Bronze Filmes baseado nos personagens de Maurício de Souza. Com a direção de Maurício Eça (A Menina que Matou os Pais, 2020), enquanto a dupla Regina Negrini e Antonio Arruda (Cidade…

[portalresenhando]

Uma história com a pegada do universo de Maurício de Sousa apoiada no gênero suspense e repleto de mistério. Eis o longa nacional "Turma da Mônica Jovem: Reflexos do Medo", em cartaz no Cineflix Cinemas em Santos. A produção dirigida por Mauricio Eça...:

[themarciliob]

O Menino que Matou Meus Pais / A Menina que Matou os Pais (The Boy Who Killed My Parents / The Girl Who Killed Her Parents) , 2021 [Dir. Mauricio Eça]

[comomepudeenamorar]

A Menina Que Matou Os Pais | The Girl Who Killed Her Parents (2021)  Com: Carla Diaz e Leonardo Bittencourt  Direção: Mauricio Eça  Roteiro: Ilana Casoy / Raphael Montes

[topherfoxtrot]

A Menina que Matou os Pais (2021) dir.: Mauricio Eça

[suzanelouisevonrichthofen]

#Repost @seriesemovies_

Filme: A menina que Matou os Pais / O menino que matou meus pais.

Na direção de Mauricio Eça, o filme chega aos cinemas no dia 2 de de abril 2020.

Qual a sua opinião sobre o filme?

@umfilmeprarecordar

@cinema_em_serie

@_universeries

@_fernandisse

O Caso Richthofen aconteceu em outubro de 2002, em São Paulo e se tornou um dos homicídios mais conhecidos no Brasil. Na ocasião, Suzane planejou a morte de seus pais, e abriu a porta da mansão da família para que os irmãos Cravinhos pudessem acessar a residência e, em seguida, mataram Manfred e Marísia com marretadas na cabeça.

#CarlaDiaz

#SuzaneVonRichthofen

#CasoRichthofen

#frasesdeseries

#frasesdefilmes

#trechosdefilmes

#citacoesdeFilmes

#legendadefilmes

#Comedia

#FilmeBrasileiro

#FilmeNacional

#Instafilmes

#Filme

[cinema-neilton1962]

Elenco: Carla Diaz Leonardo Bittencourt Allan Souza Lima   Direção: Mauricio Eça Gênero: Drama Duração: — min. Distribuidora: Vitrine Filmes Orçamento: R$ — milhões Estreia: 10 de Setembro de 2020 Sinopse:  Descrito como um drama psicológico, o longa conta a história real por trás do caso de Suzane Von Richthofen, responsável pelo assassinato dos próprios pais, ao lado de Daniel e Christian Cravinhos. O crime ocorreu em 2002 e chocou o Brasil e o mundo na época. Atualmente, Suzane permanece cumprindo pena no presídio feminino de Tremembé. Fonte: Cinepop. (em Tijuca, Rio De Janeiro, Brazil) https://www.instagram.com/p/B94p5fKFrM1/?igshid=r9zwhcpzbq2n

[vocativocom]

Julgamento de Suzane Von Richthofen vai virar filme

Julgamento de Suzane Von Richthofen vai virar filme

A Galeria Distribuidora, braço da Vitrine Filmes dedicado ao lançamento de filmes com maior apelo comercial, anuncia a produção do filme “A menina que matou os pais”, drama psicológico que narra o julgamento de Suzane Von Richthofen e Daniel Cravinhos, réus confessos do assassinato dos pais de Suzane em um crime que chocou o País, em 2002.

Com direção de Mauricio Eça (“Apneia” e franquia…

[nuclearblastuk]

SEPULTURA | SECOND TRACK-BY-TRACK TRAILER FOR

MACHINE MESSIAH LAUNCHED

Brazilian heavy metal icons, SEPULTURA, will unleash their upcoming studio album, Machine Messiah, on January 13th through Nuclear Blast. Today, the band unveils their second track-by-track trailer! Learn about the last five songs on the new record, here:  http://youtu.be/n2Nj-1XbEJI Check out the first track-by-track here: https://youtu.be/O0A5mgUlzjg Pre-order Machine Messiah: Limited edition clear and bi-coloured vinyl or CD/DVD Digibook + Canvas Artwork Print bundle From the Nuclear Blast UK Store: http://nblast.de/SepulturaNBUK Limited edition CD/DVD Digibook, CD, Vinyl & Vinyl Picture Disc from Amazon UK: http://nblast.de/SepulturaMMAmz Pre-order the digital version (incl. 'I Am The Enemy') here: http://nblast.de/SepulturaMMiTunes Watch the previous studio diaries here: Studio Diary #1: www.youtube.com/watch?v=y8Lp7ge8Q3w Studio Diary #2: www.youtube.com/watch?v=_8vneH5RKt4 Studio Diary #3: www.youtube.com/watch?v=XrkNouSAxT4 Studio Diary #4: www.youtube.com/watch?v=ol2arUukE30 Studio Diary #5: https://www.youtube.com/watch?v=a0SveiuE_AY Studio Diary #6: https://www.youtube.com/watch?v=UNa9K7GvcH4 Studio Diary #7: https://www.youtube.com/watch?v=1NdCDS0IM60 Studio Diary #8: https://www.youtube.com/watch?v=zHBU2wCu1JY ICYMI: 'Phantom Self' video (directed by Mauricio Eça): https://www.youtube.com/watch?v=a0mDeaivvi8 'I Am The Enemy' lyric video: https://youtu.be/pCEe44CgyAM The album was produced by the band and Jens Borgen (SOILWORK, OPETH, KATATONIA, AMON AMARTH) of Fascination Street Studios in Örebro, Sweden. The stunning cover artwork of Machine Messiah was created by Filipino artist Camille Della Rosa. ‘Machine Messiah’ tracklisting as follows:   1. Machine Messiah 2. I Am The Enemy 3. Phantom Self 4. Alethea 5. Iceberg Dances 6. Sworn Oath 7. Resistant Parasites 8. Silent Violence 9. Vandals Nest 10. Cyber God Watch Sepultura Under My Skin - The Mediator UK Tour 2015 here: Part 1: https://www.youtube.com/watch?v=FxrNCtr-7oE Part 2: https://www.youtube.com/watch?v=cmMQfw6BegM Part 3: https://www.youtube.com/watch?v=FiFqshnDYJ4 Part 4: https://www.youtube.com/watch?v=5pFPkUKpw6Y Part 5: https://www.youtube.com/watch?v=7JfBR1AGlII Part 6: https://www.youtube.com/watch?v=V_sQ6zxRpKg SEPULTURA LIVE: w/ KREATOR, SOILWORK, ABORTED 01.02.  F          Metz - B.A.M. 02.02.  NL        Tilburg - 013 03.02.  D         Munich - Tonhalle 04.02.  D         Hamburg - Mehr! Theater 06.02.  DK       Copenhagen - Amager Bio 07.02.  N         Oslo - Rockefeller 08.02.  S          Stockholm - Fryshuset 10.02.  FIN       Helsinki - Black Box 11.02.  FIN       Tampere - Pakkahuone 12.02.  EST      Tallinn - Rock Cafe 13.02.  LT        Vilnius - Siemens Arena 15.02.  PL        Warsaw - Progresja 16.02.  A          Vienna - Gasometer 17.02.  D         Wiesbaden - Schlachthof 18.02.  D         Berlin - Columbiahalle 19.02.  CH       Pratteln - Z7 21.02.  I           Trezzo - Live Club 22.02.  F          Grenoble - Summum 23.02.  E          Barcelona - Razzmatazz 24.02.  E          Madrid - Riviera 25.02.  F          Toulouse - Bikini 26.02.  F          Paris - Bataclan 28.02.  UK       Manchester - Academy 01.03.  IRL       Dublin - Vicar Street 02.03.  UK       London - o2 Forum 03.03.  B          Torhout - De Mast 04.03.  D         Essen - Grugahalle 07.03.  RUS     Moscow - Bud Arena* * no ABORTED SEPULTURA are: Andreas Kisser - guitars Derrick Green - vocals Eloy Casagrande - drums Paulo Jr. - bass --- More info: www.sepultura.com.br www.facebook.com/sepultura www.nuclearblast.de/sepultura

[geekpopnews]

Turma da Mônica Jovem: Reflexos do Medo ganha prévia inédita

Mônica e Magali aparecem em cena inédita de Turma da Mônica Jovem: Reflexos do Medo. #turmadamônica #turmadamônicajovem

A trama Turma da Mônica Jovem: Reflexos do Medo acaba de ganhar uma cena inédita para despertar ainda mais o interesse dos fãs da turma que marcou a infância de milhares de brasileiros.  A cena traz Mônica, interpretada por Sophia Valverde, de As Aventuras de Poliana, e Magali, interpretada por Bianca Paiva de Chiquititas. Na prévia, as personagens partilham suas angústias adolescentes e…

[credicar]

Filmes sobre o caso Suzane Von Richthofen ganham novas imagens

Com estreias marcadas para o dia 2 de abril, os filmes “A menina que matou os pais” e “O menino que matou meus pais” acabam de ganhar imagens inéditas. Os dois longas vão contar a história do caso Suzane von Richthofen, divididos nas versões dela e do namorado, Daniel Cravinhos.

Nas produções, Carla Diaz interpreta a criminosa Suzane von Richthofen e Leonardo Bittencourt dá vida ao papel de Daniel Cravinhos. A trama tem direção de Mauricio Eça e roteiro da criminóloga e maior especialista em serial killers brasileiros Illana Casoy e o escritor de literatura policial Raphael Montes.

Vale ressaltar que a produção dos longas não tem nenhuma influência de Suzane von Richthofen e Daniel Cravinhos. Sendo assim, os dois não receberam nada e nem vão lucrar com o lançamento.

Fonte: Metropolitana FM

[omgbandadevassaari-blog]

Banda Devassa - "Marina Julia" - Praça Marechal Mauricio Cardoso. Vídeo ...

Banda Devassa - Rio de Janeiro. (Cultura, Esporte e Lazer). "POEIRA DE ESTRELAS"... (Histórias de Boemia, Humor e Música). "Elis Regina" foi a única artista com cujo talento eu não me acostumei. Mesmo no último dia do show que fizemos durante nove meses nos teatros do Rio e São Paulo, eu me surpreendia emocionado, na coxia, enquanto esperava a minha vez de voltar ao palco. Meu entusiasmo chegou ao limite numa entrevista que dei ao jornal "O Globo". Quando a repórter perguntou quais eram as três maiores cantoras do Brasil, eu respondi: “Elis Regina”. A garota do jornal achou que eu não havia entendido, mas eu confirmei: >>> "Entendi sim"... >>> "Acho que a Elis é a primeira... a segunda e a terceira maior cantora do Brasil". Essa declaração me deu a maior dor de cabeça, pois eu dirigia outros espetáculos, nos quais participavam outras excelentes cantoras. Mas acho que elas também concordavam, pois nenhuma reclamou. Na segunda vez que Elis foi para o Olympia de Paris, eu fui também, para gravar para a TV Record um programa especial sobre ela. Na sua primeira apresentação, Elis fazia apenas três números, entre um domador de ursos e um grupo de ciganos enganadores. As programações do Olympia seguiam o mesmo padrão, 30 minutos de “variedades” - (urso, Elis, cigano etc) - 30 minutos do que eles chamam "etoile américaine", (uma hora de um grande cartaz francês): "Aznavour", "Becaud" etc… Na primeira vez da Elis, a estrela principal era "Zizi Jean Maire". Na sua segunda participação, ela já era a "tal américaine". Eram 30 minutos muito bem cuidados, com o quinteto liderado pelo "Menescal" e a orquestra francesa conduzida pelo "Erlon Chaves". Alguns dias antes da estréia, Elis foi convidada a participar de um programa que apresentaria três atrações: "Barbra Streisand", "Charles Aznavour" e "ela" (Elis). Cheguei com a notícia de que a gravadora já havia providenciado o intérprete e, para minha surpresa, ela ficou admirada: >>> "Ué, Miele, intérprete pra que?" >>> "Já passei duas semanas aqui no ano passado, e já cheguei há quase um mês. Será que eu sou alguma idiota que não aprendeu a falar francês?" E foi e fez a entrevista de dez minutos. (Sem sotaque, é claro). O "Olympia" sempre foi uma sala de espetáculos populares. Em Paris, existe a "Salle Playel", que exibe apenas espetáculos de música clássica ou então um popular extremamente sofisticado. Paralelamente à temporada da Elis, apresentava "Art Blakey", baterista extraordinário, líder do "Jazz Messengers". Tinha chegado da África, onde ficou muito tempo pesquisando os ritmos da parentada. Voltou cheio de idéias, mas achou que "faltava alguma coisa para dominar todos os ritmos". E essa alguma coisa estava nas mãos e, principalmente, nos pés de "Wilson das Neves", que era o baterista da Elis. "O pulo do gato"... a diferença do samba entre os bateristas brasileiros e americanos, está no uso do bumbo e do contratempo do pé esquerdo. E foi isso que o "Art Blakey" foi checar, lá no Olympia. Seu show começava mais cedo. Ele chegou e nem quis ficar na platéia. Ficou lá na coxia, mesmo, para ver de lado a performance do "Das Neves". Depois do show, fomos jantar, e ele, que tinha ido apenas para ouvir a batida do samba, ouviu a Elis. >>> "Essa menina que canta com vocês é muito boa. Acho que ela é uma das dez maiores cantoras (brancas) do mundo". Como todos os músicos americanos, ele também fazia essa distinção: >>> Barbra Streisand, Peggy Lee são grandes cantoras, mas são “brancas”, Carmen McRae você sabe que é negra na primeira nota. Ele voltou na noite seguinte, daí sentou na platéia, viu o show todo. Depois comentou comigo: >>> "Lembra do que eu falei sobre o fato da menina ser uma das dez melhores cantoras (brancas) do mundo?" >>> "Diga a ela que (negra) também". "Negros e brancos" estavam em guerra feia naquele momento nos Estados Unidos, com a movimentação do temível e violento grupo dos "Panteras Negras". Enquanto isso, em Paris… Fazia parte do show, no Olympia, um grupo de balé americano. O arranjo de orquestra, bem como a regência, era de "Cy Oliver", que já havia feito dois álbuns com "Frank Sinatra". Achando que faltava alguma coisa no número, ele ligou para os Estados Unidos, pedindo um trio vocal feminino. Chegaram dois dias depois, três mulheres negras e lindas. Uma delas, ex-esposa de "Sammy Davies Jr." Não se conheciam. Encontraram-se pela primeira vez ali no ensaio, receberam as partituras e saíram fazendo um vocal maravilhoso. (No ato). Então, partimos para o segundo ato. Todos os participantes do espetáculo hospedavam-se no "Hotel Pasquier". Tipo pensão, com a dona dando injeção na gente etc. "Bruno Kokariks", dono do teatro, queria que a Elis ficasse no "Plaza Athenée", mas ela não queria se afastar do grupo, e ficamos todos juntos. Na noite seguinte, alguns da nossa turma saíram com as garotas do tal "trio vocal". Elas não tinham os cabelos black power dos panteras, mas usavam as perucas que identificavam o movimento. Na França, porém, acho que houve uma pausa "político-racial", e parte do nosso grupo se deu muito bem. Na manhã seguinte, no café da manhã, o resultado. As três moças apareceram bem machucadas. Um lábio cortado, um olho roxo etc. “Poxa (pensei eu), foi corpo a corpo mesmo”, mas não era nada disso. Indignado com a confraternização, o coreógrafo responsável pelas americanas aplicou o que chamamos aqui de “corretivo”. Ficou um clima péssimo, e eu fui encarregado de conversar com ele... ("mentir um pouco" sobre a falta de preconceito racial no Brasil), mostrar que o nosso grupo era formado de branco e negros. Ele não quis conversa no começo e marcou comigo um encontro num daqueles bares com o leão-de-chácara abrindo a janelinha da porta, ouvindo o nome de quem me esperava e liberando a minha entrada no salão onde eu era o "único branco". Africanos, argelinos, americanos. E, no fundo da sala, ele esperando por mim. Não foi um papo muito confortável, mas, no fim, ele topou uma trégua. Mas sem a autorização para que a nossa turma voltasse a mexer nas perucas das moças. A gente não mexia nas perucas delas e elas não mexiam nas nossas… Bom, deixa pra lá... De qualquer maneira, foi bom ele ter concordado. (Pois era um cara enorme). No tamanho e no talento. Cantava e dançava à frente do grupo. Chamava-se "Lester Wilson". Fiquei seu fã, e depois, ao assistir ao filme "Os Embalos de Sábado à Noite", li nos créditos finais que ele foi o "coreógrafo" dos números do Travolta. E mais tarde, outro filme, com a prova definitiva de seu talento. Quando ele montou os números musicais de "Whoopi Goldberg", aquele show com as freiras em "Mudança de Hábito". Mas estávamos em Paris também para trabalhar e gravei lá um programa de trabalho. (A equipe de gravação se resumia a Miele e um operador de câmera). Sem iluminação ou iluminador, o som direto na câmera, tínhamos que aproveitar a luz do dia para as cenas externas: Elis na Torre Eiffel, Elis no Louvre, Elis no Sena. E gravar às escondidas do sindicato francês no Olympia. "Monsieur Kokariks" entrou no jeitinho brasileiro e gravamos um número por noite, com a câmera no meio do público. Mas era apenas um documentário. Preparamos um roteiro com textos gravados. Era uma grande viagem da Elis, em todos os sentidos. Ficou muito bonito, a TV Record exibiu num bom horário, mas a fita se perdeu num daqueles incêndios da emissora. "Elis... Miele & Bôscoli" realizaram bons trabalhos juntos. O mais importante de todos, na TV Globo, "Elis Especial". Ganhamos vários prêmios com esse programa. E Elis, sem saber, participou diretamente da minha entrada em cena. Durante uma festa, creio que na casa de "Olivia Hime", ela estava brincando ao piano com "Luizinho Eça". De repente, como acontece quando dois grandes talentos se encontram, aconteceu um daqueles... "grandes momentos". Elis cantando "Minha", uma canção maravilhosa de (Francis Hime e Ruy Guerra), "Luiz Eça no piano de cauda". Como num filme, a festa foi ficando em câmera lenta, as pessoas foram se aproximando encantadas. Quando ela terminou, aplausos quase religiosos. Eu, na sala ao lado, sem ter percebido o que acontecia, conto uma piada para a "Wanda Sá", que ri muito alto, eu também começo a rir. E alguém reclama e grita: >>> "Pô, que chato, Miele, está atrapalhando. Se você quer aparecer, vem logo contar essa história aqui". E eu... completamente "irresponsável"... fui. Cheguei perto da nossa maior cantora e disse: >>> "Elis, senta aí um pouquinho que eu vou contar uma historinha pra rapaziada". Era um sacrilégio. Alguns pensaram: >>> “O Miele enlouqueceu de vez". O Luizinho ia sair correndo do piano, mas eu o segurei: >>> "Guenta aí, Luizinho que eu preciso que você me ajude no som de um maestro alemão". Enquanto o pessoal resolvia se me arrancava dali à força ou me entregava o "Oscar de idiota do ano", a própria Elis resolveu a questão. Em lugar de ficar indignada como deveria, sentou no chão e ordenou: >>> "Péra aí, turma". >>> "Vamos ouvir o Miele". >>> "Vai ver, é engraçado mesmo". E riu, e aplaudiu, e me salvou... No dia seguinte, quando eu e Ronaldo pensávamos em quem iríamos convidar para fazer o show ao lado da "Tuca", (cantora com muito talento), também como comediante, Ronaldo olhou para mim e disse: >>> "Quer saber de uma coisa. Não vamos chamar ninguém, não. Você faz aquelas bobagens que fez ontem na festa, bolamos outras tantas e pronto": >>> "Com vocês, pela primeira vez no palco, Luiz Carlos Miele". Colocamos um título que ficou feliz: >>> "Uma noite perdida com Tuca & Miele". (Foi um sucesso). "Marta Alencar", atual senhora e na época namorada de "Hugo Carvana", escreveu uma coluna para o jornal "Última Hora" e, de pura molecagem, comentou que eu deveria ser candidato ao prêmio de melhor ator do ano. "Sergio Bittencourt", que tinha uma coluna no jornal "O Globo", ficou indignado, e respondeu: >>> “Pode ser que Miele, que estreou agora, esteja até divertindo no show, ao lado da Tuca, mas chamar o Miele de ator é no mínimo um desrespeito com Ítalo Rossi, por exemplo". Não era... Era só uma brincadeira da "Martinha", mas as duas notas provocaram a curiosidade de muita gente que foi ao show para conferir, e o espetáculo teve uma carreira bem interessante. "Luiz Carlos Miele". (Banda Devassa-Rio - 13 de Janeiro de 2019).

[mulherama]

New Post has been published on Mulherama

New Post has been published on http://mulherama.info/2018/07/caso-suzane-von-richthofen-vai-virar-filme-e-estreia-esta-programada-para-2019/

Caso Suzane von Richthofen vai virar filme e estreia está programada para 2019

O cinema brasileiro vai abordar um dos crimes mais conhecidos e controvertidos da crônica policial brasileira. Longa está em pré-produção

Considerado um dos crimes mais chocantes do Brasil, o assassinato da família von Richthofen, em 2002, vai virar filme. Produzido pela Galeria Distribuidora, braço da Vitrine Filmes, o drama psicológico irá narra o julgamento de Suzane Von Richthofen e Daniel Cravinhos, réus confessos do assassinato dos pais Manfred e Marísia von Richthofen.

Santa Rita Filmes anuncia produção sobre o caso de Suzane Von Richthofen e Daniel Cravinhos, réus confessos do assassinato dos pais de Suzane em 2002

Foto: Arquivo pessoal

Com direção de Mauricio Eça (“Apneia” e franquia “Carrossel”), a pesquisa do longa denominado “A Menina que Matou os Pais” durou mais de seis meses e procurou analisar todos os arquivos públicos do julgamento de Suzane von Richthofen, desde o assassinato até a sua condenação.

“O filme que iremos contar é um thriller psicológico, de suspense, onde discutiremos os motivos que levaram ao fato, entranto, em detalhes e discussões nunca antes debatidos sobre o caso. Sem dúvida alguma essa é uma história muito forte e original e por ser real torna tudo mais absurdo e instigante”, conta Eça.

O diretor também ressalta que o novo trabalho “apresenta um tema que muita gente conhece e tem ideias pré-concebidas”, mas não sabem o real motivo que levou a filha (Suzana) e seu namorado (Daniel) a cometerem o crime: “Por isso, esse projeto parte de um grande desafio que é entender um pouco a mente de cada um dos dois assassinos”, finaliza.

Marcelo Braga, produtor da Santa Rita Filmes, também falou sobre os cuidados que a produção teve para construir o roteiro sobre um crime tão cruel: “Tivemos todos os cuidados necessários para construir um roteiro inovador. Foram meses de pesquisa e entrega de todos envolvidos, não é fácil, psicologicamente, ter acesso a tantos detalhes e construir uma proposta de filme sobre um crime tão bárbaro. Será um desafio para nós, não só atrair a quemconhece o caso como também jovens que não tiveram acesso aos fatos na época”,afirma o produtor.

Com roteiro assinado por Ilana Casoy, criminóloga, escritora e maior especialista em serial killers do Brasil, juntamente com Raphael Montes, escritor brasileiro de literatura policial, o lançamento de “A Menina que Matou os Pais” está previsto para o primeiro semestre de 2019.

Com gravações previstas para acontecer no segundo semestre de 2018, a produção está em fase de casting para escolher os atores que irão interpretar Suzane von Richthofen e Daniel Cravinhos.

[suzanelouisevonrichthofen]

#Repost @galeriadistribuidora @download.ins

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"Tentar entender a dinâmica de um crime não é concordar com o crime".

⠀

Confira agora o vídeo em que @carladiaz @leobiteco e o Diretor Mauricio Eça, explicam um pouco da história e justificativa de produção dos filmes: A MENINA QUE MATOU OS PAIS e O MENINO QUE MATOU MEUS PAIS! ⠀

Assista a ambos os filmes dia 02 DE ABRIL NOS CINEMAS!

⠀

#ameninaquematouospais

#omeninoquematoumeuspais

[stormyrecords-blog]

stormy records13306 michigan avedearborn, mi 48126 313-581-9322 tons of newly priced records. boxes of 45s out on the sales floor, a couple hundred new dollar rock lps, some really lovely jazz and r&b lps too. THIS WEEKEND WE CHANGE THE CLOCKS. november 5th. it's fall back time. also a great time to change the batteries in your smoke detectors. new arrivals for 11-2-17  and 11-3-17 MAURICIO MAESTRO FEATURING NANA VASCONCELOSUpside DownLP  $19.99LP version. 180 gram vinyl. 2011 release. Brazilian greats, Mauricio Maestro and Nana Vasconcelos, finally reconnect on the second part of their five decade psychedelic folk trilogy with Upside Down. Following Visions Of Dawn (FARO 138LP) - the 1976 acid-folk lost classic - Upside Down is a special new recording that stirs up a time when people dared to make liberated records. Nana and guest vocalist Kay Lyra - completing the modern folk trio - combine floating harmonies and delicate psychedelia. Maestro's moving compositions melt together hypnotizing strings with his darting guitar and wonderfully languid vocals. The master of percussion, Nana Vasconcelos brings an endless concoction of exotic instrumentation to stirring life as mind-bending vocals move in and out of focus. Together at the center of the underground '60s tropicalia and darker Afro-samba jazz movements (rising against a repressive Brazilian military regime) to the free '70s Brazilian acid-folk (that flourished in North American and European exile) Maestro and Vasconcelos have created eleven tracks that stir up this time, but in the backdrop of a liberated, prosperous Brazil. Recorded in 2010, the pair combined Maestro's classic and new compositions with modern folk ideas to outshine many current impressionists. Inspired by the success of Visions Of Dawn, Far Out Recordings label head Joe Davis encouraged Maestro and Nana to return to the studio to complete the long-time coming follow up. Mauricio Maestro began his career in vocal quartet Momentoquatro in the late '60s before he and Nana became friends in the great Luiz Eça's thirteen member band Sagrada Familia. The pair were also part of Milton Nascimento's Clube De Esquina scene along with Joyce and Marcos Valle. ALLETT, JACKThe Object Isn't ThereLP  $25.99With he Object Isn't There, UK guitar player and producer Jack Allett has made a deeply personal masterpiece based around cyclical guitar parts and electronic percussion. Playing like a half-remembered fever dream with an aesthetic that is ragged, hypnotic, and spacey, its two side-long pieces touch on minimalism, kraut-infused dub, and euphoric dancefloor optimism. As comfortable being played after Manuel Göttsching's album E2-E4 (MGART 424CD) as right before a Terekke lo-fi house anthem, it is laced with the melancholy of an early morning post-rave comedown. Yet for all the references and name-checking, it's a record that is hard to compare to anything else, past or present. This record is about - insofar as instrumental music need be about anything - hallucinations. The title The Object Isn't There serves as a concise definition, derived from the quote "A hallucination is a strictly sensational form of consciousness, as good and true a sensation as if there were a real object there. The object happens to be not there, that is all." (William James, The Principles Of Psychology, 1890) Having experienced constant tinnitus -- a form of auditory hallucination -- for the last 13 years, Jack has long questioned the distinction of something experienced as being either there or not-there. Even if, strictly speaking, a hallucination is something that's not there, if the reality of how it affects day-to-day existence is undeniable then to any extent that matters, it is there. But The Object Isn't There is no tale of woe, nor simply a response to this one condition, and tinnitus need not be considered only as distressing or distracting. Allett sees it merely as one example of many things in life that cross this uncertain terrain. Allett explains: "There are obvious parallels here with the notion of active listening. There is room for emotion too, particularly an overwhelming, all-consuming emotion. Essentially the music here is concerned with being overwhelmed by a sensation, never really being sure to what extent you are conjuring it up yourself, to what extent it exists independently of you, but ultimately deciding that it doesn't much matter; the sensation itself was undeniable." The Object Isn't There was written, recorded, and mixed in Camberwell and Camden, London, UK (2012-2016). Artwork by Graham Lambkin; Design by Jeroen Wille. Mastered by Jack Allett. Edition of 300. HASSELL, JONDream Theory in Malaya: Fourth World Volume TwoCD $14.99First reissue of Jon Hassell's "Fourth World" masterpiece, originally released in 1981. Featuring contributions from Brian Eno, Daniel Lanois (U2, Peter Gabriel), and Michael Brook (Nusrat Fateh Ali Khan). Beautifully remastered, with a bonus track ("Ordinary Mind") and liner notes written by Hassell himself. "Fourth World is a viewpoint out of which evolves guidelines for finding balances between accumulated knowledge and the conditions created by new technologies" --Jon Hassell. From his time studying with Stockhausen in Cologne and a passage through the New York minimalist sphere with Terry Riley, La Monte Young, and Philip Glass to his mentorship with the Indian vocal master Pandit Pran Nath and collaborative excursions with Eno, the Talking Heads, Peter Gabriel, David Sylvian, Björk, and Ry Cooder, Jon Hassell has pursued a continuous questioning of the dichotomies between North and South, sacred and sensual, primitive and futurist. These cross-pollinating influences and pan-cultural musical educations led Hassell to the gradual development of musical concepts and gestures that he grouped under the "Fourth World" umbrella theory. "I wanted the mental and geographical landscapes to be more indeterminate -- not Indonesia, not Africa, not this or that. . . . What would music be like if 'classic' had not been defined as what happened in Central Europe two hundred years ago. What if the world knew Javanese music and Pygmy music and Aborigine music? What would 'classical music' sound like then?" In the late 1970s in New York, Hassell began to produce a series of astonishing albums on which his trumpet explored both non-Western modalities and dramatic sound processing (deftly rendered by nascent digital effects like the AMS Harmonizer). Brian Eno, who was living New York at the time, was thrilled by Hassell's 1978 debut album, Vernal Equinox, and sought out its creator. Together they produced the classic 1980 album Fourth World Vol. 1: Possible Musics (GB 019CD/LP), before Eno charged headlong into "Fourth World"-ish collaborations with a new partner, David Byrne, on Remain in Light (1980) and My Life in The Bush of Ghosts (1981). Hassell began to feel that they were at least borrowing concepts and sounds to which he had introduced them, and at worst, that a full-scale appropriation was taking place. As Hassell undertook the process of recording and finalizing Dream Theory in Malaya: Fourth World Volume Two -- the follow-up to Possible Musics -- Brian Eno was again present, as both mixer and musician, but this time the back cover credits leave no room for interpretation or confusion: "All compositions by Jon Hassell. Produced by Jon Hassell." VATokyo Flashback2LP  $39.99Black Editions present the first ever vinyl edition of Tokyo Flashback, the legendary 1991 compilation that defined the Tokyo psychedelic movement and first brought it to the outside world. Tokyo Flashback is one of the most iconic compilations in the history of underground music. Originally released by Japan's P.S.F. Records, Tokyo Flashback defined the breathtakingly unique and previously obscured musical movement that had been developing in Japan since the late 1970s. The compilation features some of the earliest released recordings by Keiji Haino, High Rise, Masaki Batoh's Ghost, White Heaven, Fushitsusha, Kousokuya, and Marble Sheep. It captures the excitement and energy of a Tokyo awash in Technicolor and deep blacks; the music echoing krautrock, psychedelic freak-outs, garage, and no wave. At the same time it reveals astonishing, totally idiosyncratic expansions of rock music. In time, Tokyo Flashback expanded to a synonymous nine volume series that, over the following two decades, unveiled Japan's ever evolving soundscapes to the rest of the world. Tokyo Flashback is a defining statement of late 20th century Japanese psychedelic music and an essential primer to the world of P.S.F. All tracks are exclusive, this edition features the first time translation of the original liner notes. Black Editions' deluxe edition is entirely re-mastered and marks the first release of Tokyo Flashback outside of Japan and it's first ever vinyl issue. Also features Verzerk. Newly created artwork and design expanding on the original by Rob Carmichael at SEEN Sudio; Housed in custom printed deluxe Stoughton gatefold jacket and slipcase, including full color printed inner sleeves and inserts with soft touch and spot UV gloss finishes; Remastered and cut by Pete Lyman at Infrasonic Sound; Pressed to high quality vinyl at RTI. ALESSANDRONI, ALESSANDRODevil's Nightmare (La Terrificante Notte Del Demonio)LP  $34.99Directed by Patrice Romme, The Devil's Nightmare (1971) was an Italian-Belgian production and featured main performers Jean Servais alongside a sensual Erika Blanc; also noteworthy is the disturbing presence of the graceful and filiform silhouette of Daniel Emilfork in the role of Satan. The film's components are typical of the Euro-horror genre of the time: a gothic castle, eroticism, and bloody murders -- all in a spectral and dense photograph. It is the music of maestro Alessandro Alessandroni, who needs no introduction, to indelibly mark the listener, starting with the hypnotic, psychedelic opening theme to which the harpsichord and his faithful Fender Stratocaster add the acid and fuzz, overlapping the silly wordless vocals of his companion Giulia De Mutiis. In the ranking of the 100 Best Horror Soundtracks, compiled by FACT Magazine, The Devil's Nightmare is ranked ninth. First time on vinyl; Edition of 500 (hand-numbered). PASCOAL & GRUPO VICE VERSA, HERMETOViajando Com O Som: (The Lost '76 Vice-Versa Studio Session)CD  $14.99Hermeto Pascoal is a true maestro and a cultural icon. He represents the highest level of musical evolution; as a multi-instrumentalist, a composer, and an arranger. Once described by Miles Davis as "the most impressive musician in the world", there is good reason (beyond his Gandalf-like appearance) why he is known as "O Bruxo" ("the Wizard"). For Far Out Recordings' 200th release, the label present a previously unreleased album by Hermeto Pascoal and his Grupo Vice Versa: Viajando Com O Som, the lost '76 Vice Versa Studio Sessions. Recorded in two days in 1976, at Rogério Duprat's Vice Versa Studios in São Paulo, the sessions featured Hermeto's go-to "Paulista" rhythm section: Zé Eduardo Nazario (drums), Zeca Assumpção (bass), and Lelo Nazario (electric piano), as well as saxophonists Mauro Senise, Raul Mascarenhas, and Nivaldo Ornelas, guitarist Toninho Horta, and vocalist Aleuda Chaves. Hermeto decided he would record with this particular group following a show at Teatro Bandeirantes, during which an almost spiritual musical connection amongst the group was realized. The performance lasted for hours, without any breaks, and Hermeto saw the potential for his compositions to reach a "higher level" as the music organically moved from structured compositions to "freer" improvisational works. In the studio, the sound engineer Renato Viola understood that things needed to happen quickly. Almost everything recorded on the first take ended up staying in the final mix. After the mixdown, Lelo Nazario would ask Renato to make him a copy of all the material. Supposedly, the master tape was lost, but Lelo kept his copy in his studio's archives, where it stayed for over forty years. With the tape rescued and restored, this release fills a void in time. Recorded at an especially experimental period in Hermeto's career, it's a compelling insight into the incredible efforts of this group, who created a unique musical language which would have a profound influence on countless artists to come. The 1970s are considered a golden age of Brazilian music, but it's often forgotten how desperately hard it was for artists to get their music past the military dictatorship's censorship efforts. Yet in 1976, despite the often musically radical nature of Hermeto Pascoal's compositions, he was typically productive. The release of Viajando Com O Som re-writes the already remarkable story of one of the world's most supernaturally talented musicians. SPIRIT FESTSpirit FestLP  $23.99LP version. Gatefold sleeve; Includes printed inner sleeve; Includes download code. Bewitching avant-pop album from impromptu supergroup built around acclaimed Japanese duo, Tenniscoats. Aside from being the name of an influential Tokyo-based duo, Tenniscoats represents fun, artistic freedom, experimentation, and inclusivity. In the world of Tenniscoats, music can happen anywhere, and everyone is invited to join in. During the winter of 2016, the music happened in Munich. As a long-time fan, Markus Acher (Notwist) jumped at the chance not only to put Tenniscoats on the bill at the Alien Disko festival he was organizing, but also to invite Saya and Takashi to a small apartment studio, together with Mat Fowler (Jam Money), and Cico Beck (Aloa Input, Notwist). This is where Spirit Fest was recorded over the following 14 days. Tenniscoats are known for their collaborations -- some of their finest work was done in conjunction with Tape, The Pastels, Jad Fair, and many others. Mat Fowler recalls the Spirit Fest sessions taking place in an idyllic, festive atmosphere. "Every morning we'd all share breakfast, chat, and learn about German Christmas customs. We'd catch the bus in the morning and walk home in the evening. The journey ran parallel to the beautiful flowing Isar River that bubbles, ebbs and flows right through the middle of Munich." While Tenniscoats sit at the heart of proceedings, it isn't their album alone. Markus, Mat, and Cico also brought songs, providing a solid base on top of which the artistry could evolve. Mat explains, "a melody would begin, and slowly, each of us -- in our own time -- would find our way into the music. Producer Tadklimp would sensitively set-up around us in this narrow window of time, so as to document that first and intuitive moment of collective discovery." "Nearly everything was recorded live," agrees Markus, "playing and singing together in one room with piano, guitars, percussion and some keyboards." The collaborators came from Germany, Japan, the UK, Greece and beyond. From the tender beauty of Markus's "River River" and Saya's "Mikan" to the electro-Merseybeat of Tenniscoats' "Nambei", and the half-crazed pianica-reggae of "Shuti Man", the resulting album is a testament to the manner of which these musicians are able to channel their songwriting through their spontaneity. It's also a snapshot of a gentle and intuitive moment in time. DR. DREIn Effect: The Roadium Swap Meet MixesLP  $34.99"Before Dr. Dre and DJ Yella produced Straight Out Of Compton, before Greg Mack and the KDAY Traffic Jams radio show and before Ruthless Records went multi-platinum, it was a teenage Dr. Dre (then known as The Master of Mixology) making amazing mixes of early rap tracks on cassette as far back as 1985. These were the days of The Radiotron, the 'Cabbage Patch' dance, and the b-boy inspired hip-hop documentary Breakin' and Enterin'. Produced in bulk on cassette and sold at open air markets across Los Angeles, the Dr. Dre mixtapes were ostensibly 4-track 'mash-ups' of all the newest and dopest records of the time. They had simple photocopied covers but they were raw... and they were incredible. Dre's tapes were sold at swap meets, which were just organized yard sales held in giant parking lots, like The Roadium. However, it was at these swap meets that Dr. Dre first made a name for himself by simply adding another dimension to the new west coast style of hip hop. The greatest thing about these tapes was that there were so many jams crammed onto each side, yet only a small percentage of them were actually listed on the covers. This was the next level of mixing capabilities -- layers upon layers on top of each other that was so technically advanced at the time that it was hard to figure out exactly how Dre created them. The choice of tracks and the passion in which the mixes were created is what made them classic. The Roadium Swap Meet Mixes have an untreated and unprocessed sound that will bring you back to the mid-1980s at a time when hip hop was just getting started." KARACA, CEMHasretLP  $29.99Pharaway Sounds present the first ever vinyl reissue of Cem Karaca's Hasret, originally released in 1980. The fifth album by the Turkish legend, Hasret is based on poems by Nazım Hikmet. It was originally released while Cem was living in Germany. A good example of Anatolian pop/rock, featuring great songs and production (lots of analog synths) and the incredible, powerful voice of Cem. SAUVAGE, TOMOKOMusique HydromantiqueLP  $23.99LP version. Reverse board-printed inner and outer sleeve; Edition of 500. Musique Hydromantique is the second solo album by Tomoko Sauvage archiving many years of her performance-based practice on the waterbowls -- the natural synthesizer of her invention, composed with porcelain bowls filled with water and amplified via hydrophones (underwater microphones). While her first album Ombrophilia (2009) was studio-recorded/composed work, Musique Hydromantique is about experimentation and improvisation with the environment -- acoustics affected by the architecture, temperature, humidity, and the human presence. For more than ten years, Sauvage has been investigating the sound and visual properties of water in different states, as well as those of ceramics, combined with electronics. Water drops, waves, and bubbles are some of the elements she has been playing with to generate the fluid timbre. Since around 2010, hydrophonic feedback has been an obsession -- an acoustic phenomenon that requires fine tuning depending on the amount of water, a subtle volume control, and interaction with the acoustic space. "Calligraphy" was recorded in a genuine echo chamber, with about ten second reverbs, situated in a former textile factory. Like an endless exercise to draw perfect curves and forms floating in the air, the subaquatic feedback frequencies are pitch-bended with the mass of water sculpted by a hand changing its quantity. "Fortune Biscuit" is about the singing bubbles emitted from the pieces of "biscuit" (porous terra-cotta). Depending on the texture of the surface, each biscuit makes different sound. "Clepsydra" (meaning "water clock") features Sauvage's classical technique, a random percussion with dripping water. Sauvage tunes the waterbowls by adding and removing water, making flowing glissando, to find the balance point in ever-changing tonalities. Just as the flow of water is subject to a number of variables such as temperature and pressure, water clocks mark a time that is shifting and relative. However, slowness dominates throughout the album as a result of favoring the full resonance of the instrument. Hydromancy is a method of divination by means of water. Unpredictable bubbles and water ripples become oracles. Evaporation and acoustic space constantly play a chance operation. All the tracks were live-recorded without electronic effects or editing. Recorded during night or very early in the morning, and the whole album is to be listened to during that period of a day. Mastered by Rashad Becker at Dubplates & Mastering. in stock 11-3-17   COIL: Time Machines 2xLP $34.99COIL: Time Machines CD $16.99Inspired by long form ceremonial music of Tibet and other religions, where the intent is to lose oneself in the music to meditate or achieve a trance state Time Machines became Drew McDowall, John Balance, and Peter Christopherson's electronic punk-primitive” answer to this tribal concept. Each of the four pieces on Time Machines is named after the chemical compound of the hallucinogenic drug that they were composed for, and the album was meticulously crafted to enable what John Balance referred to as 'temporal slips' in time and space, allowing both the artist and audience to figuratively dissolve time. SUN RA: My Brother The Wind CD  $15.99SUN RA: My Brother The Wind LP  $32.99My Brother the Wind, Vol. 1 captures Ra's initial 1969 encounter with the Moog synthesizer. The album has been meticulously remastered from archival session tapes and includes rare and previously unreleased studio material. MBTW is one of several albums that showcase Ras initial reckonings with the then-recently introduced Moog synthesizer. Although the Astro Infinity Arkestra is credited on the original Saturn LP sleeve, only three sidemen were on the session;reed players Marshall Allen, John Gilmore, and Danny Davis, with Moog performance pioneer Gershon Kingsley serving as synth programmer and technical consultant. The original 1970 Saturn release featured four tracks, which are included on side A/B of this two-LP remastered edition. Side C features the complete tracking session of Ra's Moog-centric single The Perfect Man, with three full takes of the title, including two previously unissued versions.Side D features the monumental 18-minute;Space Probe; Ra's outrageously freewheeling solo work recorded on a Moog (or two) around the same time. The remastered LP and CD editions include liner notes by Moog historian Brian Kehew. Technical notes are provided by jazz historian Ben Young (who also restored and remastered the album with Joe Lizzi). MARTIAL CANTEREL: Lost At Sea  LP $20.99Perhaps the most important contemporary torch carrier for cold wave pop, Martial Cantarel yields his strongest work to date with Lost At Sea; a richly evocative collection of songs and instrumentals that doesn’t shy away from up-to-date sounds, but uses them inventively and nimbly at the service of the floor and with an ear-snagging sharpness when consumed on headphones. V/A: John & Alan Lomax and the Early Folk Music Collections at the Library of Congress  $19.992017 repress. "Lost Train Blues features 22 selections from the vast holdings of the American Folklife Center at the Library of Congress, 13 of them have never been issued before. The record includes work songs, ballads, blues, political and union songs, guitar, banjo and fiddle music and Native American vocal music. These recordings were made between 1933 and 1950 and represent the birth of the folk music collections at the Library of Congress, now the largest repository of folk and enthographic holdings in the world. The record demonstrates the groundbreaking work of Alan Lomax and his father John Lomax, but also places them with the context of other important early field workers. The deluxe record includes liner notes by Alan Lomax archive curator Nathan Salsburg, as well as a 14 page booklet with photographs and original research about each song, artist and folklorist. The cover features an original lithograph by artist Jeff Tocci. Each selection has been retransferred from original discs and tapes at the Library of Congress and has been carefully remastered by sound engineer Don Fierro making for the best possible audio fidelity." RAYMOND SCOTT: Three Willow Park 3xLP  $44.99RAYMOND SCOTT: Three Willow Park  cd  $18.99Three Willow Park: Electronic Music from Inner Space, 1961–1971, now available from Basta, represents the second anthology of pioneering electronica by Raymond Scott. The album contains 61 previously unissued gems, many featuring hypnotic rhythm tracks played by Scott’s Electronium — an invention which composed and performed using programmed intelligence. Three Willow Park reveals that Scott was producing beat-oriented proto-techno before the 1970s explosion of electronic music and rhythms on the pop charts, a significant achievement that should not be overlooked.