Central Station is the 1998 drama film set in Brazil. The main language in this film Is Portuguese.The film’s story arch depends almost entirely upon the performances of two people, one young and one old, one male and one female. Vinícius de Oliveira, is a real breakthrough in his performance. I found that he was discovered f by director Walter Salles in an airport, while shining shoes. He plays the part of Josué with a real life simplicity to his nature. Much like Oliveira himself, Josué is a floater tossed here and there by the impersonal currents of Rio de Janeiro. In the film , Josué had a mother to care, and look out, for him, but in a single moment she died. Somewhere, in a distant place far off to the south, Josué has a father whom he's never known, never met.
The only person that Josué can depend on, not that either of them know it, is Dora played by Fernanda Montenegro.

The partner in crime for Central Station, Dora has lost patience with humanity, she's disconnected with society and is very bitter towards it. In Rio's main station,Dora writes communications dictated by an illiterate population. She only does this to make ends meet, having retired from teaching, and frankly Dora couldn't care less whether her actions make or break lives. At home, if a flat empty of love, devoid of affection, can be called home, Dora cackles with friend Irene at the expense of poor unfortunates. That's how little her existence touches on the finer things, the fireworks and private smiles, that lift the spirits of those very same customers.
So how do these two meet? Through circumstance and rude chance, courtesy of a script that understands the actions and reactions of folk under stress. Contained within the lines and scenes is this knowledge, implicit at any particular instant, explicit when taken as the sum of all that has occurred.

For Central Station, it's the journey, whether physical or emotional that counts at the end you've learnt a tiny bit more about who you are as a person. As the tale unfolds it becomes transparently clear that one doesn't learn through introspective analysis, persistent understanding comes through doing and experiences shared. So while Josué and Dora provide this lesson's context, with notable excellence, they aren't essential to the message itself that any citizen of Rio could do as well.

Yet for all of her experience, young Oliveira matches Montenegro. He has a freshness, a way of talking directly that is pure adolescence; Oliveira is sophisticated enough to lie yet the questions that he poses are blunt. Throughout Central Station, as the pair travel a landscape excpetionally photographed by Walter Carvalho, such observations cause Dora real trouble. In the hands of Salles, the result is a film that almost restores your faith in humanity.

Speaking of faith, a part of Central Station that may resonate more strongly with the domestic Brazilian audience is its treatment of religion. The beliefs that permeate the culture and people also seep from Salles' picture thoroughly. Everywhere the camera looks there are symbols, declarations of penance, salesmen taking advantage of the devout, aspects of prayer, hope, desire, anything to escape the ghetto. Without realising it Dora and Josué become caught in their own odyssey.