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Mango Yellow (Amarelo Manga) - Exclusive

2.7 out of 5 stars 27 customer reviews

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Editorial Reviews

Mango Yellow (Amarelo Manga) – Exclusive

Guaranteed to shock even jaded viewers, Claudio Assis' debut feature is seeped in bold, sun-drenched colors. It is a provocative tale of low-rent losers set in the coastal town of Recife, Brazil. Assis' characters seemingly stem from some Carnival hell - a macho butcher and his born-again wife, a forlorn barmaid, a sinister sadist and the gay manager of a flophouse called the Hotel Texas. A cleverly interconnected script propels the action in this highly original film with its perfect confluence between style and story.

Portuguese with English subtitles.

"The movie's surreal flavor underscores its message: This is how the lower half lives in Brazil, and by extension, humanity at it most basic, getting along without the rose-colored protections that affluence affords" -New York Times

"Thoughtful and well made... A strong and original new voice in Brazilian cinema" -The Culture Vulture

"A Wildcat of a Film" -Variety

Mango Yellow (Amarelo Manga) is an official selection of the prestigious, award-winning Global Lens Collection presented by the Global Film Initiative.

This product is manufactured on demand using DVD-R recordable media.'s standard return policy will apply.

Special Features


Product Details

  • Actors: Matheus Nachtergaele, Jonas Bloch
  • Directors: Cláudio Assis
  • Format: NTSC
  • Language: Portuguese
  • Subtitles: English
  • Region: All Regions
  • Aspect Ratio: 1.33:1
  • Number of discs: 1
  • Rated: Unrated
  • Studio: Global Lens
  • DVD Release Date: January 3, 2014
  • Run Time: 100 minutes
  • Average Customer Review: 2.7 out of 5 stars  See all reviews (27 customer reviews)
  • ASIN: B0006Z2NKE
  • Amazon Best Sellers Rank: #207,050 in Movies & TV (See Top 100 in Movies & TV)
  • Learn more about "Mango Yellow (Amarelo Manga) - Exclusive" on IMDb

Customer Reviews

Top Customer Reviews

Format: DVD
Mango Yellow provides a look into the lower class life in Brazil in the city of Recife. There is a surreal atmosphere to the film because the characters are eccentric and exaggerated to emphasize certain aspects of their behavior and personalities. It is a film which allows raw expressions of feeling by those who are on the economic edge of life. The viewer is first introduced to a waitress who may also be the bar owner.. She is tired of her job and the lifestyle she leads but continues on ... providing philosophical treatistes while she serves her customers their favorite beverage. Her bar is the local hang out for many people. She fights off the sexual advances of her customers while also testing her sexuality and appeal ... They come to her rescue when she is challenged by a new customer, not one of her regulars.

The viewer is introduced to several residents and employees at the Texas Hotel which is a seedy run down place, the only home to several unique characters. Isaac, also called "the German" has a peculiar fetish and obsession. It is very bizarre ... There is a lonely, elderly retired asthmatic woman named Aurora, who recalls her life during more exciting times. There is a gay cook named Dunga, who has the 'hots" for a heterosexual butcher named Wellington whom he knows he can not "have"... Wellington is shown doing his work at the local slaughterhouse where a cow is killed and butchered, all of which is graphcally shown. The gay cook knows Wellington is cheating on his wife Kika. Wellington is very proud that his wife is a very religious Evangelical Christian. She reveals during a discussion at dinner that although she can forgive just about anything, the thing she absolutely can not tolerate is infidelity.
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Format: DVD
This movie is part of an ongoing trend in Brazilian cinema (and arts) - the artistic representation of the low brow poor (in this case northeastern) other for the consumption of the high brow modern Brazilian art consumer. It is a motif of Brazilian art that goes at least as far back as Aluizio Azevedo's depictions of 19th century poor people in Casa de Pensao and o Cortico (and includes paintings by Portinari and books by authors like Graciliano Ramos). When done right, I suppose such art serves to bridge the gap between the represented other - the Sertanejo, the urban poor, the nordestino - and the art consumer - the urban Paulistano or Carioca moviegoer or book reader. When done right, the sophisticated, urban Brazilian consumer might feel more empathy with and sympathy for the social classes whose very selection as the object of artistic representation is testament to great distance that separates such modern, urban Brazilians from the people whose lives are represented in such films and books.

But this film does it all wrong. Every character in the film produces a certain repulsion in the viewer. We are shown the grotesque private perversions of each character, their crude habits, lack of manners, lack of morals, and secret fantasies - there is the necrophiliac, the drunken leftists, the girl who never wears panties, the girl whose sexual fantasies include raping a man with a hair brush handle, the uncontrollably faithless and disloyal husband, the corrupt city bureacrat, the ridiculously stereotyped gay cook, the hotel owner who uses his underwear as a wallet, the old lady who masturbates with an oxygen machine, the girl who can only form sexual and emotional attachments to married men... the list goes on.
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Comment 24 of 29 people found this helpful. Was this review helpful to you? Yes No Sending feedback...
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I chose not to finish this film after viewing about half of it. The endless parade of people speaking and acting badly was too depressing to continue. If the objective of the makers of this film was to portray how poverty corrupts people they had more than amply demonstrated their point. They seemed to deliberately exclude any characters with any positive qualities which would have lifted it beyond the merely cynical. These characters seem trapped in a particularly seedy part of Recife and reduced to swearing, putting people down, grabbing at each others' body parts, and indulging in perverse pleasures. Most offensive was the portrayal of a bitchy, sex obsessed gay man by Matteus Nachtergal, an sensitive actor I have enjoyed in other roles. The caricature rang false, as if under the guide of sympathy was really a brutal homophobic putdown. Gorky's The Lower Depths, at least as filmed by Kurosawa, showed characters with more depth and character for all their poverty. This is all surface with characters chosen for what they represent, e.g. "the jaded waitress, the gay cook, etc.."..
I doubt whether the Global Film Institute accomplished its goal of promoting "cross-cultural understanding" with this film. I've lived in Brazil. I am embarrassed for my friends there if this were promoted as a sensitive portrayal of them. I generally try to finish a film and avoid judging the whole by the half. If these characters started to do things that redeemed them in the second half of the film it would be a violation of what happened in the first half. I regret having wasted my money buying this film and have more constructive things to do with my time than try to finish it.
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