"Central Station" reminds me a lot of John Cassavettes' film "Gloria." Both films center on women on the road with a young boy in tow. But unlike the American film, this, a Brazilian export, is much more deep, even more affecting. And here, the duo on the road aren't running, exactly, they're searching. But they search becomes a journey, of self-discovery and revelation. And what the two find within themselves, the product of this journey, is a deeply moving, thought-provoking, and touching experience.

The main characters here are Dora, a former teacher, and Josue, a suddenly motherless and homeless boy. Dora works at the central train station in Rio as a "letter writer." One of the interesting thing about foreign films is that they teach us interesting things about other cultures. It could be assumed that much of Brazil is illiterate as Dora writes letters for many characters in a little stand in the train station. Her patrons are apparently unable to do this for themselves due to lack of education. Dora helps Josue's mother write a letter to his "estranged" father and then sees the woman killed in the streets, run over by a bus.

What makes Dora such a remarkable and absorbing character is that she is not a perfect person. In many ways, she is severely flawed. For example, she lets Josue sleep at the station, as he is homeless, for a few days before she finally takes him in. And it goes deeper than that as well, but the twist and turns her character takes are fascinating to view. Her relationship with Josue is ever-evolving and the give and take between the two, this makeshift guardian and child, is pure sparkling chemistry.

Fernanda Montenegro is spectacular as Dora. Watching the film, it is obvious why she was nominated for an Academy Award for her performance. Montenegro brings forth someone with complex feelings and flawed humanity. And the actress is beautiful in her courage to present a character that is not necessarily pretty to look at. Her toady features cut harsh lines across the screen equaling the deep crevices of her wrinkled facade. She has to have a distinct appearance to accentuate the intensity of her character. Her face shows all the never discussed history her character carries with her. Like Montenegro's wrinkled face, Dora is deeply scared. Watching her character peel away layers of years of unhappiness is a cinematic experience that is hard to equal. 

Meanwhile, Venicius de Oliveira as young Josue delivers a performance that is unflinching and competent. The kid may be playing a kid here, but he does so with no fear and no vagueness. Oliveira helps us feel our emotions in the film, helps us to understand the complex relationship Montenegro's Dora has with Josue. It is, simply put, one of the best performances put on screen by a young performer in a year where there have been many. His childish bravado never crumbles even when his innocent faces streams with tears. Like all young boys, he is desperate to prove he is a man but underneath he is trembling, afraid, and needing only to feel wanted.

"Central Station" isn't an easy film. It's not too intellectual or too forced; On the contrary, it is too simplistic and too realistic in many ways. It doesn't seek any easy moments and it never takes the easy way out. With this in mind, it should be said that this can be quite frustrating and perplexing at times. The conclusion may even leave more questions than it answers. But for those willing to take the time to travel through this experience, this often troubling, often rewarding film offers much to be consider - and much to hold dear.

Note: In Portuguese with subtitles.

Directed by Walter Salles Jr., based on his story idea.

The film, as well as Salles and Montenegro, were nominated for several awards. It won several awards including a Golden Globe for Best Foreign Film and the Golden Bear for Salles at the Berlin Film Festival. Montenegro won the Silver Bear at the same event.

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