Four Days in September (1997) 35mm film trailer, flat open matte, 4K *CROPPED, *PARTIAL

Описание: *Note 1: This is the cropped version as it would have been shown in theaters, to see the uncropped version, click here:    • Four Days in September (1997) 35mm film tr...  

*Note 2: The roll I got is missing a part at start, it's either 5s or 35s that are missing depending on the confusing sources of information that I got.

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This 35mm film trailer has been donated by https://www.nathanboone.com and transferred to digital using the Gugusse Roller with the Raspberry Pi HQ Camera.

https://www.imdb.com/title/tt0119815/
https://www.rottentomatoes.com/m/four... 59% - 75%

The Gugusse Roller is a DIY project. Build your own Gugusse Roller, visit https://www.deniscarl.com and/or   / gugusse-roller-2216783521714775  , no registration, no fees, no fuss.

*Synopsis and review by ChatGPT*

Four Days in September (1997), Directed by Bruno Barreto, this gripping political thriller recounts the real-life 1969 kidnapping of United States Ambassador Charles Burke Elbrick in Rio de Janeiro by two Brazilian revolutionary groups opposing the military dictatorship. Based on the memoir by Fernando Gabeira, the film follows a group of young idealists who abduct the ambassador to demand the release of political prisoners. As tensions rise during the four-day standoff, ideological conviction clashes with fear, doubt, and the harsh realities of political violence.

Bruno Barreto crafts a tense and humanized portrayal of a pivotal moment in Brazilian history, balancing suspense with emotional nuance. The film avoids simple hero-villain dynamics, instead presenting the kidnappers as conflicted young activists and the ambassador as a dignified, unexpectedly empathetic hostage. Alan Arkin delivers a measured and compelling performance as Ambassador Elbrick, while Pedro Cardoso and Fernanda Torres add emotional depth to the revolutionary ensemble. The film was nominated for the Academy Award for Best Foreign Language Film, a testament to its international resonance. While some critics noted a softened political edge, the film remains a powerful examination of moral ambiguity, sacrifice, and the cost of resistance.

Technically, the film was shot on 35mm, enhancing its grounded, documentary-like realism. Cinematographer Félix Monti utilized Arriflex 35 BL cameras to capture the gritty urban atmosphere of late-1960s Rio de Janeiro. Filming took place primarily on location in Rio, lending authenticity to the production design. The film had an estimated budget of approximately $5 million and achieved moderate international box office success, particularly in art-house circuits. The production involved notable Brazilian talents, with music by Stewart Copeland adding subtle tension to the narrative. Its restrained visual style and period-accurate detail make it especially compelling when viewed through the texture and grain of an original 35mm trailer print.