Silver Salt – 2005

Cátia, a successful economist, needs to rethink her life when her boyfriend Veronese, a controversial filmmaker, suffers a heart attack, leaving behind a dark past, a photo shop, some short films and a lot of screenplays on his computer.

Directed by: Carlos Gerbase
Executive Producers: Luciana Tomasi e Nora Goulart
Screenplay: Carlos Gerbase
Cinematography: Jacob Sarmento Solitrenick
Art Direction: Fiapo Barth
Soundtrack: Tiago Flores
Production Director: Marco Baioto
Editing: Giba Assis Brasil
Distribution: Columbia Pictures do Brasil
Maria Fernanda Cândido (Cátia) Camila Pitanga (Cassandra) Marcos Breda (Veronese) Bruno Garcia (Valdo) Janaína Kremer (Mirabela) Nelson Diniz (João Batista) Júlio Andrade (Holmes)
33rd Festival de Gramado (Brazil, 2005) Best Editing
3rd Festival de Maringá (Brazil, 2006) Best Actress (to Maria Fernanda Cândido) and Best Music


  • 36th International Film Festival of India (India, 2005)
  • 10th International Film Festival of Kerala (India, 2005)
  • 3rd Chennai InternationalFilm Festival (India, 2005)
  • 1st Festival de Cinema e Vídeo dos Países de Língua Portuguesa (Cabo Verde, 2005)
  • Chicago Latino Film Festival (USA, 2006)
  • 23rd Festival de Cine de Bogotá (Colombia, 2006)

“Between suffering and joy, Carlos Gerbase’s new film goes from mourning to re-affirmation of life, like a symphony that begins at a slow pace and ends up putting the joy of a new beginning. A panel, therefore, carried out in such a way as to emphasize that art, whether produced by someone as contemplated by the viewer or felt by the liste’ner, is not only the result of a professional task. It’s not just a movie we’re watching on screen and it’s not just three. There is more, at the beginning and at the end, when the performers address the audience, and also in those films that the character of Maria Fernanda Cândido creates in her imagination, after reading those suggestions for movies, as we could call the scripts.”

(Hélio Nascimento, JORNAL DO COMÉRCIO, 09/30/2005)

Silver Salt was purposely divided into four movements, like a symphony – which allows you to put, as the director himself said, the soundtrack as a character. In fact, the soundtrack, based on romantic pieces by composers such as Bach, Edward Grieg, Mendelsshon and Tchaikovsky, among others, is responsible for some of the good moments of the film, not only for the quality of the songs, but for the way it is intimately tied to history.”
(João Nunes, COSMO ONLINE, 09/30/2005)

Silver Salt is the point of the creative maturity of the director of ‘Inverno/Winter’ (1983) and ‘Tolerância/Tolerance’ (2000). It’s cinematographically his most advanced work; unfortunatelyit was released into a time when people prefers to praise mediocrity and to call pretension what is creation: Gerbase knows the cinema he wants to do and he does it with a naturalness that escapes the myopia of some. It’s a beautiful movie at the wrong time of Brazilian cinema.”
(Eron Duarte Fagundes, DVD MAGAZINE, 09/29/2005)

“One of the most striking moments is the beginning of the film. Gerbase decided to impact with a scene that deserves to be seen from its first moment. Well-timed, the moment creates a complicity with the viewer that goes beyond the visual discourse, which shows itself to be vigorous, but also gives space for an intelligent narrative sequence. For that he had the talent, the sensuality and the sympathy of Camila Pitanga.”
(Marcos Santuario, CORREIO DO POVO, 09/24/2005)

Silver Salt, the new movie by Carlos Gerbase, begins with a scene in which Camila Pitanga speaks to the camera, stares at the viewer, her voice becomes panting, she looks down and moans. It’s oral sex. Gerbase filmed an orgasm using only suggestion. It’s Camila’s strong work. (…) It is a long take that is anthological, of a comparable effect, preserved the differences of time, to Norma Bengell’s famous frontal nudity in Ruy Guerra’s ‘TheHustlers’’.”
(Luiz Carlos Merten, O ESTADO DE SÃO PAULO, 09/23/2005)

“For Carlos Gerbase, the director of Silver Salt, fidelity is a fetish. His previous long, ‘Tolerância/Tolerance’, addressed the issue explicitly, centered on the context of marriage. This film, whose release has been postponed several times since the end of last year, retakes the debate and adds a variant: not only marital betrayal, but also fidelity to the art of cinema is discussed.”
(Marco Antonio Barbosa, JORNAL DO BRASIL, 03/17/2006)


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