disgust. He leaves and walks down a railway line, gun in hand, disappearing in the distance. Cast Fernando Ramos da Silva as Pixote Jorge Julião as Lilica Gilberto Moura as Dito Edilson Lino as Chico Zenildo Oliveira Santos as Fumaça Claudio Bernardo as Garatao Israel Feres David as Roberto Pie de Plata Jose Nilson Martin dos Santos as Diego Marília Pêra as Sueli Jardel Filho as Sapatos Brancos Rubens de Falco as Juiz Elke Maravilha as Debora Tony Tornado as Cristal Beatriz Segall as Widower João José Pompeo as Almir Background Casting The movie is shot in the manner of a documentary and shows the strong influence by Italian neorealism in that amateur actors were used whose real lives strongly resembled those of the protagonists in the film. Filming locations It was filmed in São Paulo and Rio de Janeiro. The film features several scenes of Rio's beaches. Historical places in São Paulo like 'Viaduto do Chá' and the statue 'Monumento às Bandeiras' (at the Ibirapuera Park) are seen throughout the film. Distribution The film was first presented at the New York New Directors/New Films Festival on May 5, 1981. Later it opened on a limited basis in the United States on September 11, 1981. The film was shown at various film festivals, including the San Sebastián International Film Festival, Spain; the Toronto Festival of Festivals, Canada; the Locarno International Film Festival, Switzerland; and others. Critical reception Film critic Roger Ebert, who wrote for the Chicago Sun-Times, considered the film a classic, and wrote, "Pixote stands alone in Babenco's work, a rough, unblinking look at lives no human being should be required to lead. And the eyes of Fernando Ramos da Silva, his doomed young actor, regard us from the screen not in hurt, not in accusation, not in regret - but simply in acceptance of a desolate daily reality." Critic Pauline Kael was impressed by its raw, documentary-like quality, and a certain poetic realism. She wrote, "Babenco's imagery is realistic, but his point of view is shockingly lyrical. South American writers, such as Gabriel Garcia Marquez, seem to be in perfect, poetic control of madness, and Babenco has some of this gift, too. South American artists have to have it, in order to express the texture of everyday insanity." The New York Times film critic, Vincent Canby, liked the neo-realist acting and direction of the drama, and wrote, "[Pixote],