Boleiros, Era Uma Vez O FutebolNum típico bar paulistano onde fotos de jogadores estão espalhadas pelas paredes, um grupo de homens tem algo em comum: todos são boleiros, profissionais e ex-profissionais do futebol. Eles costumam reunir-se ali para relembrar fatos e tecer comentários sobre jogos, atletas, times e juízes. Este é o ponto de partida de Boleiros, quinto longa-metragem de Ugo Giorgetti. Os ex-jogadores Naldinho (Flávio Migliaccio) e Otávio (Adriano Stuart) costumam encontrar-se todas as tardes com outros ex-atletas do esporte: Ari (João Acaiabe), Tito (Oswaldo Campozana), Juiz (Rogério Cardoso) e Mamamá (César Negro). Reunidos à mesa, eles alinhavam aqui e ali uma observação que os remete a algum caso curioso e inesquecível de que tiveram notícia. É assim, por exemplo, que se fala das peripécias de um juiz corrupto (Otávio Augusto), empenhado em fazer um time ganhar; do jogador Paulinho Majestade (Aldo Bueno), que anuncia a venda de troféus e medalhas porque está na miséria; do craque mirim (João Motta) que se envolve com marginais; de Azul (Cléber Colombo), autor do mais belo gol dos últimos tempos, alçado à condição de herói por uma noite; do atleta contundido (André Bicudo), que apela ao pai-de-santo para se curar; e do jogador metido a garanhão (Paulo Coronato), que tenta burlar a vigilância na concentração para conquistar uma sedutora hóspede do hotel (Marisa Orth) em que está o seu time. Ancorado numa nostalgia debochada, Giorgetti povoa o seu filme de personagens comuns, com episódios que algum dia já ouvimos a respeito de alguém. Faz isso com tamanha habilidade que acabamos nos convencendo de que todas as pessoas realmente têm uma história que vale a pena conhecer, só precisam aprender a contá-la. 19981998-04-19127Paulo TelesMario Masetti E Kity FeoMauro GiorgettiIsabel GiorgettiCELIA PADILHAMalu Oliveira60055608081s:20:"a:1:{i:0;s:3:"488";}";01;08;102513422503;04;0553455345-04-19144171411TV Cultura e Quanta2011-06-21 16:15:402011-06-2104/19982009-01-19 16:11:422009-01-19Ugo GiorgettiIsabel GiorgettiUgo GiorgettiMarçal De SouzaRodolfo Neder, José RosaN2018-04-19N2018-04-1997Sem informaçãoMiriam BidermanDENISE FRAGA MARISA ORTH FLÁVIO MIGLIACCIO LIMA DUARTE ADRIANO STUART OTÁVIO AUGUSTO CÁSSIO GABUS MENDES ROGÉRIO CARDOSO ANTÔNIO GRASSI ALDO BUENO WALTER BREDA JOãO ACAIABE OSWALDO CAMPOZANA CÉSAR NEGRO CLÉBER COLOMBO PAULO CORONATO LUIZ RAMALHO ELIAS ANDREATTO EDUARDO MANCCINI ANDRÉ ABUJAMRA ADILSON PANCHO ROBSON NUNES WANDI JOãO MOTTAMarcelinho de OliveiraEffects FilmsFestival internacional de Amiens- França- 1998 Associação Paulista de Criticos de ArteNazareth AmaralPaulo TelesS2018-04-20Marlene BergamoJoão SagatioN2018-04-19espaço unibancoRosita GimenezParanáClaudio ManuelONE CORP., N. Y.Marc D' RossiPaulo TellesBrasilN2018-04-19SP Filmes de São Paulo LtdaUgo Giorgetti e Malu OliveiraMalu OliveiraAna Paula GuimaraesMelhor Diretor (Amiens) Melhor Diretor(APCA)Ugo GiorgettiNum típico bar paulistano, com fotos de jogadores espalhadas pelas paredes, um grupo de homens tem algo em comum: todos são boleiros, profissionais e ex-profissionais do futebol. Eles costumam se reunir ali para falar sobre jogos, atletas, times e juízes. Dessas conversas surgem lembranças de fatos e personagens insólitos do futebol, num clima de nostalgia debochada. Os episódios são tão familiares e, relatados com tanta habilidade, que acabamos nos convencendo de que todas as pessoas realmente têm uma hostória que vale a pena conhecer, só precisam aprender a contá-la.As happens every afternoon, a group of ex-professional soccer players has gotten together in a bar in São Paulo, Brazil, for one of those long, desultory, and noncommittal conversations so common among retirees of any profession. These conversations occupy a period of the day difficult to fill, those two or three hours that constitute both the end of the afternoon and the beginning of the evening. The ex-players themselves are in a similarly nebulous period: their days of glory have ended and the long night of a new phase of life, anonymous and equal, has begun. They all were once great as soccer players -- they have that in common. In the present they differ from one to another: some do absolutely nothing, living on whatever money they managed to save; others still wander through the soccer fields as trainers or youth-soccer-school instructors, even risking an occasional appearance at veterans' games. Another habitué of the bar also makes part of the group: an ex-soccer referee. The conversation of course is illustrated by stories. When one of the players begins to illustrate his points or his arguments with a story, the action shifts to the story he's narrating, and the events are staged, at times with the help of the player-narrator's voice. When the story ends, the actions returns to the bar, where the conversation continues until someone begins another story, which then has its chance to appear on the screen. The concept of this script is to incorporate within its own development habits and customs that belong to the brazilian soccer tradition. The script attempts to obey this popular manner of recounting exciting or poignant moments, which is the people's way, the Brazilian way of telling the facts about soccer. And as for these facts, these narrated stories, the script also deals with themes that occur all too frequently in the world heritage of soccer. It tells about the once-great player going through hard times financially; it tells the story of the referee "bought" by one of the teams and whose greatest hope while conducting the game is that the team that "bought" him will win naturally and that he won't be forced to interfere. Then one of the ex-players, at the bar's table now the instructor at a youth soccer school, tells of discovering a boy -- a wonderful talent, a star -- who showed one day up out of the blue and who, at the end of each training session, simply disappears. Unlike the other boys, who are driven to the soccer school by their parents, this kid shows up barefoot, badly dressed, and aggressive. But he's an incredible player. And as talent recognizes talent, when the ex-player sees that boy, he feels he's in the presence of greatness. He also senses that something is wrong with this street kid, and he tries to know more about him, to influence him and save him for the world of soccer. But he fails miserably, and the boy vanishes from the school and into the underworld of São Paulo. Next there's the story of some soccer fans who have grown tired of waiting for modern medical science to return their idol, the star player of the team, to active play. They finally decide to take the player, against his will, to a candomblé witchdocter. The fans and the player are, in fact, childhood friends, all born in the same poor neighborhood on the far outskirts of the city. The witchdoctor is also from the same neighborhood, and so they are all old acquaintances. However, the star, who long ago lost contact with his childhood roots, is very suspicious and absolutely opposed to the whole adventure. But the witchdoctor "examines" him, recommends a certain kind of "treatment," and after a couple of days -- to the astonishment of the soccer club's medical department, of the team doctor, and of the president of the club itself -- the player returns to the field in excellent shape. But the fans aren't astonished at all. There's also the story of a certain player who, after signing an unbelievable goal, finds himself the darling of the press. In the dressing room after the game, he's surrounded by television cameras and reporters; all clamoring to interview him. Puffed up by his new fame and vanity, he's dragged off to a live TV program, then to another TV station where he participates in a round table discussion; then, accompanied by his agent, he goes off to have dinner at Massimo, one of the most reknowned restaurants in São Paulo, and finds himself being courted by a representative of the Naples soccer team, who had been in the city and had seen the goal. Already dreaming of his trip to Italy, our star leaves the restaurant in his Japanese sports car. It turning out that our star is black. Only a couple of blocks past the restaurant, he is brusquely stopped by a police squad car. The cops haul him out, shine a powerful flashlight in his face, and search him for weapons and drugs. And only after some time do they realize their mistake, time enough for the player to understand who he really is: a solitary nigger in an imported car. Then one of the ex-players remembers his arrival in São Paulo from Brazil's hot Northeast, ready to make his debut as a rookie on a big team. He describes life in the pre-game isolation-and-concentration period, the despotism of the coach, and his first contacts with the stars of the team. And the cold weather. Mainly the cold weather. He tells how he couldn't play in his first game because of the terrible flu he had caught when obliged to spend most of the night freezing on the open terrace of the hotel that was housing the players in their pre-game isolation. The team's star player, with whom he was sharing a room, had arranged a tryst in that very room with a hotel "guest" and didn't want any prying eyes to put a damper on the proceedings... Soccer stories. The film tends toward humor and lightness even when it is serious, once again in an attempt to capture the essence of the game itself.1"PROS" Brazilian soccer revisitedN2018-04-19N2018-04-19S2018-04-20Miguel AngeloSem informaçãohttp://www.spfilmes.com.brSim