Orfeo negro
Orfeo negro

Orfeo negro

Orfeu negro

Audio y subtítulos

Versión Original con Subtítulos

  • Audio: Portugués
  • Subtítulos: Español

Versión en Español

  • Audio: Español
  • Subtítulos: Español

Marcel Camus


Francia, Italia, Brasil

Año de producción


Estreno en cines



94.043,07 €


461 812

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Sobre la película

Ganadora del Oscar y del Globo de Oro a la Mejor Película de Habla no Inglesa y de la Palma de Oro en el Festival de Cannes. Aclamada actualización del mito griego basada en una obra teatral de Vinicius de Moraes, la película cuenta con una emblemática banda sonora de Antonio Carlos Jobim, que popularizó la bossa nova y la samba brasileñas a nivel mundial. Un auténtico estallido de vitalidad, colorido y musicalidad.

La bella Eurídice llega a la ciudad brasileña de Río de Janeiro en vísperas de su famoso carnaval huyendo de un hombre que la acosa y buscando al único pariente que le queda después de la muerte de su padre. Se instala en casa de su prima, situada en los suburbios y cerca de las escuelas de samba. Hasta allí llega en un tranvía cuyo conductor llamado Orfeo, popular en la zona como guitarrista y cantante, se enamora perdidamente de ella.

Dirección y reparto

Títulos similares

¿Cómo valoras esta película?


Entretenida, aunque bastante superficial. Es la transposición de un mito, sin más.

12 agosto 2017

Eu acho que e um filme maravilhoso, muito bonito, acho que e bom pra alguem que está começando a falar portugues e quer conhecer a historia do brasil, vendo o lado das pessoas mais pobres festejando o carnaval, o triste de este filme e que acho que nunca foi reconhecido como um filme Brasileiro pra academia dos Oscar. Eu Adorei!

23 julio 2015 (Editado)

Hermosísima película. Entiendo que es como una alegoría en la que el carnaval representa la huida de la muerte. Destacaría también unos algunos memorables personajes secundarios:Serafina, Hermes, los niños,... También me quedo con lo que dice la canción del principio: "La tristeza no tiene fin, la felicidad si." . Me encantó, vaya.

23 julio 2015 (Editado)

"With a background of the pulsating, colorful Rio carnival in Brazil, a reenactment of the Orpheus legend is executed in this vehicle [based on Vinicius De Moraes' play]. This time they are Negroes and there is a clever transposition of the tragedy to modern times. Eurydice (Marpessa Dawn) is a girl who comes to visit her cousin in the city in order to escape from a man trying to kill her after she turned him down. However, she is pursued by him (disguised as Death) in a carnival getup. She meets Orpheus, a streetcar conductor who is engaged to another girl. They fall in love but she is killed inadvertently by Orpheus. The descent into Hades is smartly engineered at a revival meeting when her voice comes through from an old, possessed woman. Pic is somewhat cerebral, being mainly helped by the fresh playing of the cast, especially Yank actress Dawn. Color is excellent, and director Marcel Camus gives this movement. "

Redacción de Variety


"Breno Mello makes a handsome, virile Orpheus who glistens when covered with sweat, but he performs the role more as a dancer than as an actor trying to show a man in love. No real conviction of passion comes out of his furious posturing. A suspicion of affectation inevitably intrudes. Conversely, the girl who plays Eurydice is an American dancer, Marpessa Dawn, and she conveys more forthright emotion than does the non-terpsichorean man. A pretty, frank face and a gentle manner that suggest absolute innocence gather an aura of wistfulness about her that filters down into a melancholy mood. This, at least, is appropriate and helpful for the accidental tragedy that ensues. But it really is not the two lovers that are the focus of interest in this film; it is the music, the movement, the storm of color that go into the two-day festival. M. Camus has done a superb job of getting the documented look not only of the over-all fandango but also of the build-up of momentum the day before. He has got much more of a sense of turmoil in his minor characters—in the people surrounding the lovers and the wild, abandoned mobs in the streets. Lea Garcia is especially provoking as the loose-limbed cousin of the soft Eurydice, and Lourdes de Oliveira is lissome and wanton as the cast-off fiancée of Orpheus. Swarms of sinuous girls and children shimmy and race to the samba beat, which is insistent through most of the footage. That's what makes the picture alive. Whether it proves what is concluded—that the poor are doomed to tragedy—is a point we strongly question. But it certainly does fill the ears and eyes. The language spoken, incidentally, is Brazilian Portuguese, which is translated in English subtitles that completely lack the samba beat. A cat with a cool vocabulary should have been turned loose on them"

Bosley Crowther de NY Times


"Breno Mello is the Orpheus who falls for his Eurydice (Marpessa Dawn) during the Rio carnival, a spectacle that vanishes when Orpheus encounters a voodoo ceremony at which the voice of his Eurydice is channelled by a woman standing behind him - and he may not turn round. An inspired reinvention of the underworld."

Peter Bradshaw de The Guardian