(35 mm, 96 min, color, 2005) Cátia, a successful economist, has to rethink her life when her boyfriend Veronese, a polemic filmmaker, suffers a heart attack, leaving her an obscure past, a photography supply store, some short movies and lots of screenplays in the computer.

Maria Fernanda Cândido and Bruno Garcia

Distribuition: Prana Filmes

Contact: luli@pranafilmes.com.br

Director: Carlos Gerbase
Executive Producer: Nora Goulart e Luciana Tomasi
Written by: Carlos Gerbase
Cinematographer: Jacob Sarmento Solitrenick
Art Director: Fiapo Barth
Music by: Tiago Flores
Assistant Director: Ana Luiza Azevedo
Production Coordinator: Marco Baioto
Editor: Giba Assis Brasil

A Casa de Cinema PoA Production

Main Cast

Maria Fernanda Cândido (Catia)
Camila Pitanga (Cassandra)
Marcos Breda (Veronese)
Bruno Garcia (Valdo)
Janaína Kremer (Mirabela)
Nelson Diniz (Joao Batista)
Julio Andrade (Holmes) 

FULL CAST AND CREW

Awards:

• 33rd Gramado Festival, 2005:
  Best Editing
• 3º Maringá Festival, 2006:
  Best Actress (Maria Fernanda Cândido), Best Music

Reviews:

"Between suffering and joy, Carlos Gerbase’s new movie goes from grieving to life-affirming, like a symphony which starts in a slow tempo and finishes with the joy of starting over. A panel, therefore, made to highlight the fact that art, be it produced by someone or watched by a spectator or felt by a listener, is not just the result of a professional task. It’s not just one movie we are seeing on the screen and not just three either. There are more, in the beginning and in the end, when performers talk to the audience, and also in those movies which Maria Fernanda Cândido’s character makes with her imagination after reading those movie suggestions, as we could call the screenplays".
(Hélio Nascimento, Jornal do Comércio, 30/09/2005)

"SAL DE PRATA / Silver Salt is the creative maturity of the maker of INVERNO (Winter) (1983) and TOLERÂNCIA (Tolerance) (2000). It is his most cinematographically advanced work; unfortunately, we live in time where mediocrity is lauded and invention such as this called pretentiousness: Gerbase knows the kind of cinema he wants to make and makes it with an ease unseen by the myopia of some. It is a beautiful movie, made at the wrong moment in Brazilian cinema. (...)The web of movies within movies gets tangled up with the web of relationships without any narrative effort, because Gerbase is master of his craft; despite speaking about the confusion in people’s minds, Gerbase at no points loses his train of aesthetic thought, offering the audience a show as lithe as it is clear in its unveiling of visual metaphors".
(Eron Duarte Fagundes, DVD Magazine, 29/09/2005)

"One of the most striking moments is the beginning of the movie. Gerbase decided to make an impact with a scene that deserves to be watched from its very first moment. Well-planned, the moment creates complicity with the audience that goes beyond visual discourse. It shows force, but also makes room for an intelligent narrative sequence. For that, he has Camila Pitanga’s talent, sensuality and charisma".
(Marcos Santuario, Correio Do Povo, 24/09/2005)

"SAL DE PRATA, the new movie from Gaúcho filmmaker Carlos Gerbase, starts with a scene where Camila Pitanga talks to the camera, facing the audience. Her voice becomes panting, she looks down and moans.  It’s oral sex. Gerbase shot an orgasm with suggestion alone. It’s strong work by Camila. (...)It’s an instant classic of a long, uncut shot, with an effect comparable to that of – keeping in mind the time difference – Norma Bengell’s famous full frontal nudity in Ruy Guerra’s Os Cafajestes (The Unscrupulous Ones).
(Luiz Carlos Merten, O Estado de São Paulo, 23/09/2005)

"Carlos Gerbase’s feature film is, one could say, a meta-movie, that is, a movie commenting moviemaking itself. Because of that, the first scene with beautiful Camila Pitanga talking to the camera about cinema in orgasmic poses is a good opening salvo for SAL DE PRATA’s tone. One of Gerbase’s fortes is actor direction. Maria Fernanda Cândido is great as the widow who discovers lost screenplays in a filmmaker’s computer".
(Paulo Ricardo Kralik Angelini, revista virtual Argumento, 19/08/2005) 23/09/2005

23/09/2005