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The Baron (film)

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Director  Edgar Pera
Music director  Vozes da Radio
Language  Portuguese
6.4/10 IMDb

Genre  Drama, Horror, Mystery
Running time  1h 45m
Country  Portugal
The Baron (film) movie poster
Release date  October 2011 (2011-10) (Portugal)
Based on  a short story by Branquinho da Fonseca
Writer  Luisa Costa Gomes (screenplay), Branquinho da Fonseca (novel)
Initial release  October 20, 2011 (Portugal)
Cast  Nuno Melo (The Baron), Nuno Melo (The Teacher), Vítor Correia (The Miller), Vítor Correia (Idalina), Vítor Correia (The Inspector)
Screenplay  Edgar Pera, Luisa Costa Gomes
Similar movies  Related Edgar Pera movies

The baron rotterdam film festival trailer

The Baron (Portuguese: O Barão) is a 2011 Portuguese film directed by Edgar Pêra.


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During the second world war, an American crew of B-Movies took refuge in Lisbon. In 1943, producer Valerie Lewton married with a Portuguese actor that translated to her Branquinho da Fonseca's short story "The Baron". The dictator heard about the movie and ordered that the film was destroyed. The crew was repatriated. The Portuguese actors were deported to Tarrafal's Concentration camp. They died tortured in the "skillet", a cubicle where humans were roasted. In 2005, 2 reels and the screenplay were found in the archives of Barreiro's kino-club. For the next 5 years the film was restored and reshot. In 2011, was shown for the first time.

The baron meets mina manborg 2011


  • Nuno Melo
  • Marcos Barbosa
  • Leonor Keil
  • Marina Albuquerque
  • Paula Só
  • Vítor Correia
  • Miguel Sermão
  • Jorge Prendas
  • Rogério Rosa
  • Reception

    At the 2012 Globos de Ouro, the film was nominated for Best Film and Nuno Melo won the award for Best Actor.

    Critical reception

    Dejan Ognjanovic in BEYOND HOLLYWOOD:

  • ""The Baron" is a Portuguese film shot in retro-modern-scope, in glorious high contrast Black and White, boasting to be "a 2-D film by Edgar Pêra". One could say that it is modern precisely in its anti-modernity. It is almost impossible to describe this film without relying on comparisons: The Baron looks and feels like a weird re-enactment of a 1930s horror film through the arty lens of a very talented modern director – something along the lines of Almereyda's "Nadja", Merhige's "Begotten" and Maddin's "Dracula: Pages from a Virgin's Diary". There are also droning soundscapes and grotesquely nightmarish non-sequitur situations in which humor and horror are disquietingly close reminiscent of David Lynch. (...)"
  • Eurico de Barros:

  • “Signed by the most persistently individualistic portuguese filmmaker, The Baron is the metamorphosis of a literary work from the 1940’s into a oniric phantasmagoria, surreal and cinephile to the core. “
  • Jorge Mourinha in The FLICKERING WALL:

  • "For cult Portuguese veteran Edgar Pêra, this adaptation of writer Branquinho da Fonseca's 1942 novella about a big city bureaucrat caught in the seductive wave of a decadent country aristocrat was a long-gestating project, following on his 2007 little-seen filming of the writer's sole novel, Rio Turvo. On paper, O Barão seems to have little to do with mr. Pêra's surreal cyber-DIY aesthetics, until one realises the he uses it as an unexpectedly accessible synthesis, both stylistic and thematic, of his 30-year directorial career on the fringes of mainstream film-making. His explorations of Portuguese history and character are visible in the parable of the Baron as a metaphor for an old, parochial country, corrupt, debauched, hypocritical; his fascination with genre cinema, B-movies and trash eccentricity comes through in Luís Branquinho's dazzling high-contrast black-and-white cinematography and the director's decision to film the story as a throwback to 1930s Universal and 1950s cheap B-series horror movies as helmed by an epileptic Guy Maddin, with mr. Pêra's regular accomplice Nuno Melo channeling Bela Lugosi and Klaus Kinski in his portrayal of the Baron. The result is the director's most accessible fiction yet, playfully described on the press notes as a "2D movie", although it never fully abandons mr. Pêra's playful, often impenetrable way with narrative and insistence on highly baroque visuals (the creativity of the English subtitling is wondrous and yet over the top). Yet O Barão is also an unapologetically romantic tale of love and regret (as indeed most classic horror movies) and the director's most sincere work yet."
  • Bruno Ramos e Rui Brazuna:

  • “The imaginary of Branquinho da Fonseca is transmuted in a way never seen before.”
  • Gerwin Tamsma, Roterdam Film Festival programmer:

  • 'They don’t make them like this any more' is the initial, paradoxical thought that crops up whilst watching the magnificent The Baron. Perhaps Edgar Pera’s most ambitious film so far comes across like an apparition from the last century, and makes no bones about it. Whether this is true or not, The Baron announces itself as an attempt to remake a film destroyed by Portuguese dictator Salazar’s political police before it could be finished. This point of departure is vaguely reminiscent of A Short Film About the Indo Nacional and Indepencia by Raya Martin from the Philippines, who tries to use his films to give his country a film history it doesn’t have. Or perhaps even wishes to add an essential, missing element to prevent history from being perverted forever by the cruel consequences of dictatorship, poverty and censorship.'
  • References

    The Baron (film) Wikipedia
    The Baron (film) IMDb The Baron (film)

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