Elena 2013 123movies

Watch: Elena 2012 123movies, Full Movie Online – Elena, a young Brazilian woman, travels to New York with the same dream as her mother, to become a movie actress. She leaves behind her childhood spent in hiding during the years of the military dictatorship. She also leaves Petra, her seven year old sister. Two decades later, Petra also becomes an actress and goes to New York in search of Elena. She only has a few clues about her: home movies, newspaper clippings, a diary and letters. At any moment Petra hopes to find Elena walking in the streets in a silk blouse. Gradually, the features of the two sisters are confused; we no longer know one from the other. When Petra finally finds Elena in an unexpected place, she has to learn to let her go..
Plot: Petra heads to New York in search of her older sister after a long time of being separated. They are both movie actresses and heirs of the wounds of the Brazilian dictatorship. But Petra has only a few clues: home movies, newspaper clippings, a diary…
Smart Tags: #brazilian_abroad #f_rated

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Ratings:

	7.5/10 Votes: 1,897
	81% | RottenTomatoes
	81/100 | MetaCritic
	N/A Votes: 70 Popularity: 5.193 | TMDB

Reviews:

João Moreira Salles: “One of the most beautiful films I’ve seen in a long time”
I’ve lost track of the number of times I’ve been asked what documentaries are good for. Usually, it goes like this: “What were you trying to say in your film? Or: “What’s the goal of your film?” There is also the popular iteration I call the Post Office version: “What’s your film’s message?” And, of course, in its most utilitarian form: “Why did you make this film?”

There’s no good answer to these things for the simple reason that the question, in all its configurations, is a bad one. In these types of situations, we try to be polite and end up saying things that later become the source of eternal embarrassment and regret. The truth is that the reasons a film is made are either banal (because we were paid to, because it’s what we do) or very mysterious (the impulse to give form to something that, being inchoate, cannot be explained in advance). To me, the true test of a documentary is found not in the reasons it came into being, but in the force with which it affirms its own existence. What I mean is this: more often than not, filmmakers don’t manage to convince viewers that their films are necessary. Had they not existed, it wouldn’t make much difference, either for the viewer (which is important) or for the person who made it (which is vital). These are the expendable films. The others – which are much rarer –, leave no doubt that, because of them, something changed. It might be our perception of things, or our empathy for the world, or film itself. The viewer knows. Something came into focus, became sharper.

Elena is that kind of film. At its core is the tragic event of a life interrupted too early. The survivors are shattered. The film puts the pieces back together, to the extent that that’s possible, which is to say, imperfectly. There’s no naive belief in closure, in the ability of art to restore the wholeness that existed before the drama. Rather, it’s just the opposite. Through the film, one seeks to find a way of coming to terms with the irreversibility of death, learning to live with what will always be missing. If there’s no neat conclusion, tied with a bow, neither is there prostration, since one needs to keep living – and if possible, once in a while, just dance a little, as in the last scene. That cheerful realism, that desire to find joy in spite of everything, is what lingers and makes a film about death succeed in affirming life so strongly. The final impression is that Petra, the director and sister, made and was made by the film, a bit like that image in which a hand draws another hand and in turn is drawn by it. Without the director, Elena wouldn’t exist; without Elena, my impression is that the director would be sadder, her life trapped in unresolved mourning. She would also have been spiritually poorer, since lacking the experience of having made one of the most beautiful films I’ve seen in a long time. (Written by João Moreira Salles, director of “Santiago”)

João Moreira Salles: “One of the most beautiful films I’ve seen in a long time”
I’ve lost track of the number of times I’ve been asked what documentaries are good for. Usually, it goes like this: “What were you trying to say in your film? Or: “What’s the goal of your film?” There is also the popular iteration I call the Post Office version: “What’s your film’s message?” And, of course, in its most utilitarian form: “Why did you make this film?”

There’s no good answer to these things for the simple reason that the question, in all its configurations, is a bad one. In these types of situations, we try to be polite and end up saying things that later become the source of eternal embarrassment and regret. The truth is that the reasons a film is made are either banal (because we were paid to, because it’s what we do) or very mysterious (the impulse to give form to something that, being inchoate, cannot be explained in advance). To me, the true test of a documentary is found not in the reasons it came into being, but in the force with which it affirms its own existence. What I mean is this: more often than not, filmmakers don’t manage to convince viewers that their films are necessary. Had they not existed, it wouldn’t make much difference, either for the viewer (which is important) or for the person who made it (which is vital). These are the expendable films. The others – which are much rarer –, leave no doubt that, because of them, something changed. It might be our perception of things, or our empathy for the world, or film itself. The viewer knows. Something came into focus, became sharper.

Elena is that kind of film. At its core is the tragic event of a life interrupted too early. The survivors are shattered. The film puts the pieces back together, to the extent that that’s possible, which is to say, imperfectly. There’s no naive belief in closure, in the ability of art to restore the wholeness that existed before the drama. Rather, it’s just the opposite. Through the film, one seeks to find a way of coming to terms with the irreversibility of death, learning to live with what will always be missing. If there’s no neat conclusion, tied with a bow, neither is there prostration, since one needs to keep living – and if possible, once in a while, just dance a little, as in the last scene. That cheerful realism, that desire to find joy in spite of everything, is what lingers and makes a film about death succeed in affirming life so strongly. The final impression is that Petra, the director and sister, made and was made by the film, a bit like that image in which a hand draws another hand and in turn is drawn by it. Without the director, Elena wouldn’t exist; without Elena, my impression is that the director would be sadder, her life trapped in unresolved mourning. She would also have been spiritually poorer, since lacking the experience of having made one of the most beautiful films I’ve seen in a long time. (Written by João Moreira Salles, director of “Santiago”)

Other Information:

Original Language pt
Runtime 1 hr 20 min (80 min)
Budget 0
Revenue 0
Status Released
Rated N/A
Genre Documentary, Biography, Drama
Director Petra Costa
Writer Petra Costa, Carolina Ziskind
Actors Li An, Elena Andrade, Petra Costa
Country Brazil, United States
Awards 12 wins & 10 nominations
Production Company N/A
Website N/A

Technical Information:

Sound Mix Dolby Digital
Aspect Ratio 1.78 : 1
Camera N/A
Laboratory N/A
Film Length N/A
Negative Format N/A
Cinematographic Process N/A
Printed Film Format N/A