Joao nero

You must change the amount of moisture from my skin. This was the best and worst film I've ever seen. As I said, I was disappointed with myself that I could not explain in words how good they were. And bad. It was good because of good measure 2. Incorrect interpretation of small statistics 1. Details Edit.

Release date August 17, Brazil. Official site Brazil Official site Japan. Joao, el maestro. Box office Edit. Technical specs Edit. Runtime 1 hour 57 minutes. Contribute to this page Suggest an edit or add missing content. Top Gap. See more gaps Learn more about contributing. Because of this, he had a reclusive childhood. But one day, the piano came into his life. He arises as a stubborn boy who, in a He arises as a stubborn boy who, in a few years turns into one of the biggest promises of the world classical music.

Director Mauro Lima. Mauro Lima. Top credits Director Mauro Lima. See more at IMDbPro. Photos Top cast Edit. Ondina Clais Alay as Alay. Matheus Guerra Ives as Ives. Fernanda Nobre Sandra as Sandra. Alice Assef Aida as Aida. Geytsa Garcia Marina as Marina. Domingos Antonio Policial as Policial. It is this capacity that makes one artist better than the other.

As a conclusion, I would say that the iconic power of the un-existing image you referred to, is, on the first hand, a way of revising and recovering images from the existing visual material.

I share this visual material with the viewer and he, through his collection a sentimental or a documental one concludes the presented work. Assuring that the work gets uncompleted to each one of the viewers is one of my objectives. And it is a privilege when the spectator is the one who completes it. This question you are raising would be, sooner or later, brought into discussion.

In reality, one of the issues that the Blind Images explore is that reflection. In this sense the work is available. Needing interpretation… There are, therefore, these two testimonies: the first one given by the subtitle, which is autonomous, without a presence and the second on given by the reflection, which brings new elements and complexes the work.

The presence of the viewer is one of the variances in this process. This vortex is more powerful than we are and it re-dimensions us. We are no longer the beings in direction of the centre but falling, to any periphery. Filipa Ramos.