This allowed “Nada Bairder” to be ahead of “Minha Mai Uma Part 3” in the “official ranking” of national cinema. But not without amplifying the data with free ticket distribution and empty rooms
Leonardo Sanchez
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It’s strange at least to look at the lists of the biggest box office hits and biggest audiences in Brazilian cinema. How could the first film head up “Minha Mãe É uma Parte 3,” a movie by a gay man who practices dragging, and the second, with something fiercely religious like “Nada a Perder,” the biography of Bishop Idir Macedo?
Perhaps a few pictures illustrate the whirlwind of contradictions that are Brazil. Created by Paulo Gustavo, who died on Tuesday due to complications caused by Covid-19, Dona Hermínia, heroine of Minha Mãe É uma Parte 3, won 143.8 million Rials at the box office between 2019 and 2020 – 23 million Rials more than a title. gospel.
Box office collection data differs from audience data. In Brazil, unlike in the United States, movie success is usually measured by the second factor, which ignores adjustments in admission prices, for example. This allowed “Nada Bairder” to be ahead of “Minha Mai Uma Part 3” in the “official ranking” of national cinema. But not without amplifying the data with free ticket distribution and empty rooms.
The comedy depicted by the actor did not have to resume the conquest of Brazil. The allure of the protagonist was enough for the country to succumb to Donna Hermina’s powerful charm.
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The most successful movie franchise in national cinema, “Minha Mãe É uma Play”, which has its origins in theater, drew 4.6 million viewers in its cinematic debut in 2013. The second volume attracted 9.3 million people to theaters, in 2016, and Third and final, 11.6 million – half a million fewer than the supposed viewership of “Nada Al Fard”.
Lots of people laughed in the darkness of cinema following the changing ego of Paulo Gustavo. And most importantly, many gays have found themselves on screens, not exactly because of Donna Hermina, but because of her gay son. Families knew how to welcome their relatives, while in this sea of people that filled the rooms, many surely learned and abandoned their prejudices thanks to the trilogy.
“My Mom’s Play” is a success that far exceeds the financial factor. But it was clearly necessary to ensure that the sequences that stuck the image of Donna Herminia in the popular imagination were necessary. It would be a fourth film for the franchise inevitable, while a sub-movie based on the series was already in development. It is a huge mass of stratospheric dimensions, rare among national production.
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The third film even beat the long-awaited Disney animated “Frozen 2” and “Star Wars: The Rise of Skywalker” in the daily sets between December 2019 and January 2020 in Brazil. There was no Ice Queen to counter the screams of the hero housewife.
With the formula of written humor that patriotic films used almost to tire them out, Minha Mãe É uma Play didn’t invent the wheel – but Paulo Gustavo knew how to use it with genius. The way he has talked about homosexuality in movies, and his personal anti-militant stances, are questionable. But perhaps that is why the franchise has had conversations with so many people, without arguing or directly raising flags.
Thanks to this comedic and calm manner, the actor’s success on the big screen concluded, “My mother is a play.” In the list of thirty films that won the largest audience in national cinema, Paulo Gustavo appeared four times. With the trilogy that brought him to fame, of course, and also with “Minha Vida em Marte”, he creates “friendliness” influenced by the hero that Mônica Martelli lives.
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The actor definitely helped the film reach R $ 80 million in fundraising in 2018. Other successes, such as “Divã”, “Vai que Cola: O Filme” and “Fala Sério, Mãe!” , Also had Paulo Gustavo in his power – the mission of conquering the patriotic people. There were millions and millions of riyals that moved into the cinematography sector with the help of the actor.
His ability to communicate with the public, as the grief demonstrations and the arrival of his films prove, is outrageous. Regardless of the criticism, the presence of Paulo Gustavo will be necessary to shade the conservative speeches of Nada Berder and his offspring.
Information from FolhaPress
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