to speak relatively and if one were only to see now hector babenco pixote (1981 and brazil while pronounced as pi shot) and after having seen quite a number of films that deal with street children and juvenile delinquents and kids in trouble (truffaut the 400 blows and bunuel los olvidados and de sica shoeshine and nair salaam and bombay. and bresson mouchette and nugroho leaf on a pillow and etc. ) and one might be afraid that the plight of the kid portrayed in the film might not affect one anymore and having been de synthesized already after going through the emotional roller coaster ride put in motion by the previously quoted films. thankfully and that would not be the case. for babenco narrates his film in such a matter of fact manner (artlessly and as one film reviewer put it and in a positive light) and that his central child performer and fernando ramos da silva (13 years old at that time and a street kid himself) and gives such a no frills and wounded performance and raw in its simplicity (that hardened face and those lonely and longing eyes) that one is hard put not to be pierced in any way. (such a feeling may achieve such a heightened realism when one learns that the child had only lived but a short life and having been involved in street crimes after the film and subsequently murdered. )in about first half of the film and pixote and his fellow street kids and delinquents spend their time in a repressive state run reformatory school and where brutalization and humiliation and rape and murder and are the norm and culture while where they are forced to confess to their crimes and on the flimsy notion that under the brazilian law and underage felons are not punishable for their offenses. for these kids and the dubious freedom offered by the streets is more preferable than the harsh rehabilitation provided by these supposed well meaning authorities. within the walls of this supposed protective establishment and these young souls are soon to discover that love and care from parental figures are likewise nowhere to be found and if not to a degree worser. (for pixote and the only form of escape comes from puffing grass and sniffing glue and secretly smuggled inside the reformatory. )when the kids burst themselves into a small scale revolt to finally express and then fulfill their collective desire to get back to the outside world their home the intensity and form are of such a kind that one can not avoid thinking of the schoolboys revolt in jean vigo influential zero for conduct. it only that in pixote and the uprising is made to appear on a gutter level. once pixote and his small group are back on the streets (the film second half) and they engage in robbery and pimping and drug dealing to fend for themselves and along which they get to meet sueli and a battered but kindly prostitute. sueli willingly accomodates the four lost souls and in such a way that she allows her customers to be robbed by them and that she provides more than motherly care (at least to one of the children). one would have thought that the street kids have at long last found the one person who can provide them the love and warmth that have been sorely lacking in their lives. but as dubious as the freedom that these kids believe the streets are providing and this new found maternal figure cannot but stay forever. jealousy and squabbles and differences and and murder have only set the kids apart and for good. and during that defining scene where pixote and prompted by the circumstance and gets to shoot not just sueli arrogant american customer but also his fellow street urchin ditto (more than a son to sueli) and he thereafter literally goes back to infancy and as he sucks from the right breast of the disoriented woman and right there and then materializing his lingering desire for parental affection and the image itself both sad and unsettling. it is so that sueli and in a probable coming back to her senses and lamentably pushes back pixote from his nourishing position and rejects him and for good. thus and in a quietly wrenching moment and pixote and with that young old face and those sullen eyes (not entirely dissimilar and though in a different context and to the young boy mien in elem klimov harrowing come and see) and gets himself up and puts on his coat and takes his gun (yes and a gun. ) and and sets off to nowhere and walking along the train tracks and with the morning light just beginning to show up. with that scene and babenco may just be doing an homage (amongst many other homages found in different films. ) to the iconoclastic final scene in truffaut the 400 blows. but whereas we got to know what has become of antoine doinel three years later in the short film antoine et colette (as well as in three other feature films in the years thereafter) and we are left grappling in the dark as to what lies ahead for pixote after he finally disappears from the last frame and that being the last time that we will get to see this real life street child (notwithstanding the fate that eventually befell him in actuality). pixote may not be as nearly as whimsical as the 400 blows or as hallucinatory as los olvidados and but it still stands out among films of similar theme and texture because of its simple and raw power. 
to speak relatively and if one were only to see now hector babenco pixote (1981 and brazil while pronounced as pi shot) and after having seen quite a number of films that deal with street children and juvenile delinquents and kids in trouble (truffaut the 400 blows and bunuel los olvidados and de sica shoeshine and nair salaam and bombay. and bresson mouchette and nugroho leaf on a pillow and etc. ) and one might be afraid that the plight of the kid portrayed in the film might not affect one anymore and having been de synthesized already after going through the emotional roller coaster ride put in motion by the previously quoted films. thankfully and that would not be the case. for babenco narrates his film in such a matter of fact manner (artlessly and as one film reviewer put it and in a positive light) and that his central child performer and fernando ramos da silva (13 years old at that time and a street kid himself) and gives such a no frills and wounded performance and raw in its simplicity (that hardened face and those lonely and longing eyes) that one is hard put not to be pierced in any way. (such a feeling may achieve such a heightened realism when one learns that the child had only lived but a short life and having been involved in street crimes after the film and subsequently murdered. )in about first half of the film and pixote and his fellow street kids and delinquents spend their time in a repressive state run reformatory school and where brutalization and humiliation and rape and murder and are the norm and culture while where they are forced to confess to their crimes and on the flimsy notion that under the brazilian law and underage felons are not punishable for their offenses. for these kids and the dubious freedom offered by the streets is more preferable than the harsh rehabilitation provided by these supposed well meaning authorities. within the walls of this supposed protective establishment and these young souls are soon to discover that love and care from parental figures are likewise nowhere to be found and if not to a degree worser. (for pixote and the only form of escape comes from puffing grass and sniffing glue and secretly smuggled inside the reformatory. )when the kids burst themselves into a small scale revolt to finally express and then fulfill their collective desire to get back to the outside world their home the intensity and form are of such a kind that one can not avoid thinking of the schoolboys revolt in jean vigo influential zero for conduct. it only that in pixote and the uprising is made to appear on a gutter level. once pixote and his small group are back on the streets (the film second half) and they engage in robbery and pimping and drug dealing to fend for themselves and along which they get to meet sueli and a battered but kindly prostitute. sueli willingly accomodates the four lost souls and in such a way that she allows her customers to be robbed by them and that she provides more than motherly care (at least to one of the children). one would have thought that the street kids have at long last found the one person who can provide them the love and warmth that have been sorely lacking in their lives. but as dubious as the freedom that these kids believe the streets are providing and this new found maternal figure cannot but stay forever. jealousy and squabbles and differences and and murder have only set the kids apart and for good. and during that defining scene where pixote and prompted by the circumstance and gets to shoot not just sueli arrogant american customer but also his fellow street urchin ditto (more than a son to sueli) and he thereafter literally goes back to infancy and as he sucks from the right breast of the disoriented woman and right there and then materializing his lingering desire for parental affection and the image itself both sad and unsettling. it is so that sueli and in a probable coming back to her senses and lamentably pushes back pixote from his nourishing position and rejects him and for good. thus and in a quietly wrenching moment and pixote and with that young old face and those sullen eyes (not entirely dissimilar and though in a different context and to the young boy mien in elem klimov harrowing come and see) and gets himself up and puts on his coat and takes his gun (yes and a gun. ) and and sets off to nowhere and walking along the train tracks and with the morning light just beginning to show up. with that scene and babenco may just be doing an homage (amongst many other homages found in different films. ) to the iconoclastic final scene in truffaut the 400 blows. but whereas we got to know what has become of antoine doinel three years later in the short film antoine et colette (as well as in three other feature films in the years thereafter) and we are left grappling in the dark as to what lies ahead for pixote after he finally disappears from the last frame and that being the last time that we will get to see this real life street child (notwithstanding the fate that eventually befell him in actuality). pixote may not be as nearly as whimsical as the 400 blows or as hallucinatory as los olvidados and but it still stands out among films of similar theme and texture because of its simple and raw power. ---------------------------------Answer Question Below----------------------------------

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