太陽背後

故事發生在1910年。巴西內陸的窮山僻壤里，家族之間為爭奪土地進行了激烈的鬥爭。布雷維斯家族在與鄰居長年進行的戰鬥中失去了長子，父親將兒子死時身著的白襯衫保存了下來，直到上面的斑斑血跡變黃，他以此作為復仇的信號。他派出次子湯諾替兄報仇。父親的囑託和家族的恥辱成了湯諾年輕生命中難以承受的重負，他的青春從此消耗在對仇人長期的追逐中。

湯諾終於以一種殘忍的方式完成了這一任務，但他並沒有因此而得以解脫。對手的慘死在他的心中留下了深深的烙印，他為自己冷血的行為感到痛苦。於是他誠懇地向死者的祖父請求原諒，並希望和對方家族達成協議以結束長期的暴力鬥爭。但湯諾的這一期望無異於一種虛幻的妄想，沉浸在悲痛中的老人只同意讓這次和平持續到下一次滿月，他要讓湯諾付出血的代價。

面對生死未卜的前途，湯諾在逃離與接受挑戰之間徘徊。一對流浪歌手——塞魯絲提諾和她的繼女克萊拉——的到來給村莊帶來了歡樂，她們讓湯諾看到了生活的另一面。但克萊拉和他的相愛並不能改變陰暗的未來，隨著滿月日的一天天臨近，湯諾必須為生命而展開搏鬥

José Dumont .... Father

Rodrigo Santoro .... Tonio

Rita Assemany .... Mother

Ravi Ramos Lacerda .... Pacu

Luiz Carlos Vasconcelos .... Salustiano

Flavia Marco Antonio .... Clara

Everaldo Pontes .... Old Blind Man

Caio Junqueira .... Inácio

Mariana Loureiro .... Widow

Servilio De Holanda .... Isaias

Wagner Moura .... Matheus

Othon Bastos .... Mr. Lourenço

Gero Camilo .... Reginaldo

Vinícius de Oliveira .... Ferreira Family Member

Soia Lira .... Ferreira Family Member

羅德里格·桑托羅

Rodrigo Santoro (Tonho)Behind the Sun is Rodrigo Santoro's second feature film. For Bicho de Sete Cabeças, by Laís Bodanzki, his film debut (winner of the Youth Prize at the Locarno Film Festival 2001), Rodrigo Santoro was chosen Best Actor at the Recife and Brasilia Film Festivals. (2000). His performance as a young student locked up in a mental hospital by his own father was praised by Brazilian critics, who named him as one of the country's promising talents. Before working in film, Rodrigo Santoro worked in television and in the theater.

麗塔·阿斯麥尼

Rita Assemany (Mother)

Rita Assemany began working in the theater as an adolescent, in 1980. Soon she became one of the most respected actresses in Bahia, appearing in productions of All Nudity Shall Be Punished, The Balcony, The Decameron, and Cabaré Brazil, among other plays. In 1992 she starred in the monologue Oficina Condensada, which became a great success with the public and ran for more than one year. In 1997, she was directed by Hans Ulrich Becker in a production of Medea. In film, Rita Assemany appeared in Central Station, by Walter Salles, and is the only actress who plays in all three episodes of the feature Três Histórias da Bahia. For the short film Pixaim, she won awards as Best Actress at the Curitiba and Brasilia Film Festivals.

路易斯·卡洛斯·瓦斯索洛斯

Luiz Carlos Vasconcelos (Salustiano)From Umbuzeiro in Paraíba, Luiz Carlos Vasconcelos has been transforming himself into the clown Xuxu for 23 years, a character that is the result of his passion for the circus and one of the reasons that led Walter Salles to invite him to play the circus performer Salustiano in Behind the Sun. His talent as a theater director in Paraíba became nationally known at the beginning of the 1990s, when his production of Vau da Sarapalha, an adaptation of a short by Guimarães Rosa, traveled throughout Brazil winning over critics and the public. Luiz Carlos Vasconcelos debuted as a film actor playing the bandit Lampião in Perfumed Ball, by Lírio Ferreira and Paulo Caldas (1997). In 1999 he played one of the principal roles in Midnight/The First Day by Daniela Thomas and Walter Salles, for which he was chosen Best Actor by the São Paulo Art Critics Association. Another standout role in film came in Me You Them, by Andrucha Waddington, selected to be shown at Un Certain Regard at the Cannes Film Festival in 2000.

José Dumont (Father)

Born in Paraíba in 1950, José Dumont began acting in theater at the beginning of the 1970s. After appearing in films such as Lucio Flavio, by Hector Babenco, and Gaijin: Roads to Freedom, by Tizuka Yamasaki, he established himself as one of the most important actors in Brazilian cinema. In 1979, he played a migrant from the northeast in O Homem que Virou Suco, by João Batista de Andrade, a role that won him the prize for Best Actor at the Gramado and Brasilia film festivals. At the Havana Film Festival in 1985, he was chosen Best Actor for three films: O Baiano Fantasma, by Denoy de Oliveira, Avaeté, Seed of Revenge by Zelito Viana, and Tigipió, by Pedro Jorge de Castro. Other standout roles in film include Hour of the Star, by Suzana Amaral, At Play in the Fields of the Lord, by Hector Babenco, and Kenoma, by Eliane Caffé.

Ravi Ramos Lacerda (Pacu)

Behind the Sun is Ravi Ramos Lacerda's first feature film. He was chosen from among the hundreds of children who were screentested. Ravi began appearing as an actor in public theater festivals in João Pessoa, in Paraíba, where he was born. He received acclaim for a show in which he played a beggar boy who imitated Charlie Chaplin. In film, Ravi also appeared in the short movie A Árvore da Miséria, winner of various awards at Brazilian film festivals.

Flavia Marco Antonio (Clara)

Flavia Marco Antonio was born in São Paulo in 1978, but chose to live in Salvador, Bahia, where she has lived since she was 18. In love with the circus, Flavia enrolled in the Picolino School of Circus Arts of Salvador in 1996, and today remains a member of the school's company. At the beginning of 2001, she performed in a 40-day tour of six cities in France in a show presented by the Picolino School. Flavia also belongs to the group Clowns Forever (Palhaços Para Sempre), dedicated to the study of the art of clowns. The same year she tested for Behind the Sun, she began studies at the Theater School of the Federal University of Bahia. She has already appeared in several shows in Salvador, among them Improvisation Nights, which had a successful run at the Castro Alves Theater.

1998年一部溫情動人的小品《中央車站》讓巴西導演華特·塞勒斯名聲大噪。塞勒斯作為90年代晚期巴西電影重新贏得國際聲譽的先鋒人物，他的道路走得並不平坦。他錯過了60、70年代的興盛繁榮期，卻在80年代巴西電影工業日益衰落時以一部獲獎紀錄片進入影壇。在他執導了故事片處女作《曝光》后，就因巴西經濟的低迷不振無法得到拍片的機會。不過他仍然以給歐洲電視台拍攝紀錄片保持著活躍。

1995年，隨著巴西經濟的逐漸復甦，他得以與另一名導演共同執導了影片《異國他鄉》（Foreign Land），這部影片使國際影壇重新開始關注沉寂多年的巴西電影，獲得了廣泛的好評。同年他還拍攝了紀錄片《生活在別處》，這部作品成為他轟動一時的影片《中央車站》的靈感來源。這部影片不僅打動了萬千觀眾的心，更在世界各地取得了50多個獎，其中包括柏林電影節金熊獎和最佳女演員獎。

塞勒斯過去的作品多處理有關尋找起源和自我發現的歷程的主題，尤其是在《中央車站》中通過公路電影的形式得到了出色的表現。而這部影片依舊涉及了這一主題，雖然此次已經從個人的層面轉向了更加複雜宏大的文化層面。這部影片根據阿爾巴尼亞作家伊斯梅爾·卡戴爾的小說《破碎的四月》改編，塞勒斯稱自己為其中殘忍的力量所震懾，同時富有神話色彩的家族衝突的傳奇故事也深深地吸引了他，特別是作家塑造了一位被命運所驅使、不得不違心地捲入暴力旋渦中的男主角。

塞勒斯和他的合作者在改編小說時，從古希臘悲劇中尋找靈感，尤其是受到了埃斯庫羅斯的啟發。他們發現古希臘原始而血腥的爭鬥與世紀之初巴西某些偏遠地區的情況頗為相似，於是他們按照古希臘悲劇的形式進行改編，將小說的背景移植到巴西。

塞勒斯十分偏愛使用職業演員與非職業演員相混合的形式，這一次他更大規模地啟用了非職業演員，光挑選就花費了一年時間。而外景地超過攝氏40度的高溫一度讓拍攝工作十分困難，不過他們的堅持使影片得到了滿意的效果。

一方面是血債必須償還，殺戮和暴行永遠都不會被忘記；另一方面則存在著戰勝死亡的強烈慾望。這部電影就是試圖講述這兩者之間的衝突。”塞勒斯如此描述自己的作品。

華特·塞勒斯遠離了具有新現實主義風範的《中央車站》感傷的氛圍和細膩的筆觸，帶來了一部高度戲劇化的、頗有西部片風格的影片。古希臘悲劇與拉美粗獷的民風完美融合在一起，使整部影片呈現出磅礴的氣勢。

《中央車站》中的溫情被血腥的暴力所代替，影片集中於挖掘人性中具有毀滅性傾向的一面，展示了世世代代糾纏不休的仇恨、籠罩在生命之上的死亡陰影以及試圖擺脫這一死亡循環的願望，影片的描寫尖銳而驚心動魄。

情感衝擊力來自於導演將他的悲劇性人物與烈日下壯闊的風景結合在一起，在攝影師的精心處理下，那些巴西內陸的窮山陋水展現出一種蠻荒的力量。整部電影對自然風景的有效利用使影片畫面華麗壯觀。職業演員與非職業演員天衣無縫的默契配合也讓影片增色不少。

不過其中隱晦的象徵和深沉的文化反思可能會讓它難以像清新的《中央車站》般受到廣泛的歡迎。