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- In 1999, Sonia Braga plays the part of Herself - Presenter in the production of Bigger Than Tina.
- For the 1911 production of Accidental Outlaw, An, Sonia Braga is cast in the role of Josephine Pogue.
- Sonia Braga plays Victim in the 2000 show Animated Epics: Don Quixote.
- She plays Nurka in the 1980 movie Bicheongwon.
- She takes the role of Regina de Catrvalho in the 2005 show 1526 metros sobre el nivel del mar.
- Sonia Braga stars as Maria Lúcia in the 1930 feature Chelovek iz mestechka.
- Sonia Braga plays Dona Flor (Florípides) Guimarães in the 1996 show Anino sa dilim.
- For the 2005 video Alan Partridge's Top Teen Tunes., Sonia Braga plays Iris.
- For the 2005 production of February 14, Maria.
- In 1988, Quixtla in the feature The Bomb.
- In 2004, she stars as Gabriela in the video Bad Santa: Not Your Typical Christmas Movie.
- In 2004, she is cast in the role of Lily Acosta in the release Beyond the Pale: A Look Back.
- For the 1952 movie Awa ng birhen sa Baclaran, she stars as Leni Lamaison/Marta/Spider Woman.
- She takes the role of Loah in the 1920 show From Now On.
- In 1921, she is cast in the role of Emily Del Pino Pacheco/Roberts in the feature Bits of Life.
- In 2004, Sonia Braga plays Ruby Archuleta, Owner Ruby's Body Shop in the movie Astig.
- For the 1991 movie Black Balled, she plays the part of Irene.
- Sonia Braga's character is Madonna in the 2003 video Back to Basics.
- She takes the role of Carolina, a Moreninha in the 2008 show 27 Times.
- She plays Sephora in the 1960 tv series Azouk.
- In 1996, she takes the role of Irine Mancini in the release of Camping Cosmos.
- Sonia Braga's character is Liesl in the 1988 feature Aaj Ke Angaarey.
- In 1990, she is cast in the role of Juana Morales in the show Drowning in the Shallow End.
- For the 1914 movie The Attic Above, she is cast in the role of Celia Crouch.
- For the 1998 release of Captive, she plays Pablo's Mother.
- In 2004, Sonia Braga plays Tieta in the movie 26.04.86: Una primavera en la memoria.
- For the 1990 movie Children of Fire, Sonia Braga stars as Ana Puscasu.
- She takes the role of Berta Gonzalez in the 2007 show Archer House.
- In 2005, she stars as Gelly in the feature Bar Moments.
- For the 1967 production of Akhtar ragol fil alam, she plays Júlia Matos.
- In 2007, Sonia Braga stars as Brisa in the release of Back Issues.
- For the 1996 video Anal Cornhole Cuties, she is cast in the role of Gabriela.
- Sonia Braga plays Marcina in the 2006 production Coast Guard at War.
- In 1996, she is cast in the role of Flávia in the Anal Cry Babies.
- In 1981, she stars as Maria Garza in the The Barber of Seville.
- For the 1986 release of Anemia, Sonia Braga stars as Jessica Lopez de la Cruz.
- In 2006, Sonia Braga is cast in the role of Clotilde in the show CHI Enforcement Unit.
- For the 1992 Final Anal Tease, she stars as Tina.
- For the 1912 movie Gossip, she plays Nurka.
- The woman is a psychopath! Stay well away from her. She tried to drown Christine Blair in her bathroom. If Michael Baldwin hadn't stopped her she would have gotten rid of her and Paul Williams both. She' more dangerous than Phyllis. On Tue, 22 Mar 2005 20:31:13 -0500, "GTA" wrote: >news:ARuRd.11222$qn2.2238469@twister.nyc.rr.com... >could >You'd be surprised what would pop out at you under all that makeup. > Just one of those things that make you go hummmm. Who deserves to be impeached and imprisoned the most? A president receiving face from an adult willing female? Or a president who lies to over four billion people worldwide and then orders the attack and destruction of hundreds of thousands of innocents, 1,600 American GI'S killed and over 25,000 permanently disfigured? http://groups.yahoo.com/group/nature_knows_no_color_lines http://finance.groups.yahoo.com/group/Beautiful_Young_Females/
- "nimue" wrote in message news:ARuRd.11222$qn2.2238469@twister.nyc.rr.com... > pemberbrook wrote: > Welch or Lynda Carter or Sonia Braga or Elizabeth Pena or Maria Conchita > Alonso or Christy Turlington or Madeline Stowe or many other Latinas I could > name. Sheesh. > nimue > influence, but then I would have had to KILL MYSELF." Joss Whedon > bitches." Dawn French You'd be surprised what would pop out at you under all that makeup.
- http://www.smh.com.au/news/Film/The-way-he-is/2004/11/26/1101219735856.html The way he is November 27, 2004 Cuff luck: Robert Redford plays a kidnapped businessman in The Clearing. To get to the heart of the Hollywood icon, Tom Ryan reads between the lines. Robert Redford is approaching 70. Seventy! And in most of the films he has made in the past decade, including his new one, The Clearing, age has clearly left its mark. The guy still looks good, but now there is always the qualifier, and it's a killer, "for his age". For those of us who grew up with the smiling, smooth-faced "Sundance" raising a bemused eyebrow and exchanging crackerjack quips with Paul Newman's "Butch", this is a jolting reminder of mortality. In my pantheon of male screen idols, he rates somewhere between Cary Grant and Daffy Duck, exuding the former's urbane glamour and rising far above the latter's manic befuddlement. I've never met him, or even seen him in person, but he's been part of my life. I've seen all but a couple of the films he has made as an actor, since his debut in War Hunt (1962), and the six he's made as a director, starting with Ordinary People, for which he won an Oscar for best director in 1981. I've read most of the rare interviews he's granted and I've watched him on TV chat shows, notably Parkinson in the 1980s, to which he brought a healthy dose of modesty that only enhanced his golden boy aura. But who is Robert Redford? Is there any connection between the man born Charles Robert Redford jnr in Santa Monica in 1937 and the characters he has played? Is it possible to probe the screen persona and find anything more than a mirage? Is he a mysteriously aloof stranger, the outlaw type, the hollow man or the world-weary lover? And what is the key to his charisma? Can we learn something about him from the cheeky grin he wears in Barefoot in the Park (1967) - a role he carried from an 11-month stint on Broadway, opposite Elizabeth Ashley, to the screen with Jane Fonda? Or from the malaise that underscores his characterisation of the kidnapped business magnate in The Clearing? It's impossible to know. All such a survey can do is sketch the parameters of the persona - an object of desire who generally turns out to be unattainable; a man of action who is equally at home with reflection; a figure simultaneously mythic and human; heroic and vulnerable; impossibly good-looking and surprisingly flawed. In short, a distinctive collection of potentially fascinating contradictions that filmmakers can use however they wish. Some of Redford's most rewarding roles have been the ones that turned the golden boy persona against itself, among them The Candidate (1972), The Way We Were (1973), The Great Gatsby (1974) and All the President's Men (1976) - each of which transforms the agent of the American dream into a source of anxiety. In a 1980 interview in Rolling Stone, Redford says: "I'm interested in what's wrong in what appears to be perfect." Redford's method - which the author David Downing memorably describes as "over-understatement" in his 1982 book about Redford - places him among actors whose performances are less about their emotive flexibility than about dramatic minimalism. The silent, melancholy look he gives Helen Mirren before he heads off to work at the beginning of The Clearing, his latest film to screen in Australia, says more about the state of their marriage than any extended exposition scenes ever could. Redford is a veteran of the less-is-more school. He's not like Jack Nicholson, Dustin Hoffman, Robert De Niro or Al Pacino, who have their own way of doing things. Redford will never chew up the scenery. He prefers to exist quietly within it, to gently nudge us towards an appreciation of his characters, rather than allowing them to loudly declare themselves. For some, this has always been a sign of his uncertainty as an actor. For others, such as director Sydney Pollack, who was cast alongside Redford in War Hunt and who has directed him seven times, it's an indication of his strength. "In my opinion, he's one of the best movie actors we've ever had in America. He's never doing nothing, but he does often hold something back, which, for me, only makes him more interesting." Pollack's deion of Redford as an actor also might well apply to his performances as a public figure. There is absolutely no reason to presume that the Robert Redford who occasionally steps away from his privacy and into the public eye is any less of a character than the ones he plays on screen. There is much that's consistent in the picture he constructs of himself and his world. This Robert Redford is thoughtful, but distant. He values his privacy and would much rather be alone in the Utah wilderness than attending some Hollywood premiere or giving an interview. Both are situations in which he's required to perform: to play Robert Redford. "I never aimed to be a sex symbol, a classical actor, a box-office draw, or any of those things," he says in Downing's book. "I just did my job, went home and put myself as far away from the movie-star thing as I could." Nevertheless, he's been prepared to speak up when the occasion demands, whether it's on behalf of his beloved Sundance Institute, which he established as a haven for independent filmmakers in 1981, or for environmental causes. He has always worn his liberal principles on his sleeve, but laughed at the idea that he might go into politics. Redford has also proclaimed his lack of interest in self-examination, describing himself as the antithesis of Woody Allen. "Some people have psychoanalysis. I have Utah," he says. His marriage at 21 to Lola van Wagenen ended in 1985. The couple had four children, one of whom died of sudden infant death syndrome. They are now grandparents. Since the divorce, Redford has been romantically linked with Debra Winger, Sonia Braga and costume designer Kathy O'Rear. Newspaper reports suggest that, although he is in a "happy relationship" with the German artist Sibylle Szaggars, the pair - in the style of Jean-Paul Sartre and Simone de Beauvoir - continue to live apart. Some of what emerges about Redford's life he is able to control. Most of it he's not. And he would seem to be at least partially responsible for a number of the revealing contradictions that have emerged. Redford has always said he hates the way he's treated as a walking photo opportunity. "The bad part is that you become an object," he told Esquire magazine in 1988. "And there are three dangerous stages to that: one, people start treating you like an object; two, you start behaving like an object; and three, you become one. That's terminal." Yet he's usually been prepared to take time out to pose for Annie Leibowitz's admiring camera, or for the covers of the publications in which these interviews have appeared. Clad in smart executive suits or designer leisure gear, he's at least arrived at stage two. He's also long been talking about abandoning acting. Downing quotes him as planning to call a halt to this part of his career soon after The Way We Were. "I am retiring from films, definitely," Redford announced. It's also curious to see someone who's been such a champion of independent filmmakers remain so close to the mainstream as an actor and also as a director. Only The Milagro Beanfield War (1988) and A River Runs Through It (1992), both of which he directed, can be described as even vaguely independent. While he may be a political liberal, he appears otherwise extremely reserved, leading Downing to dub him a "conservative rebel". Few of the films he has directed reflect a risk-taking personality. Perhaps his latest project, Aloft, the story of two men tracking the flight of the North American peregrine falcon, which is scheduled to go into production this year, will open up new directions. But he has been unable to control the increasingly personal, sometimes ageist, put-downs of his acting and directing. Equally hurtful must be the sneers at his life away from the camera. In Hollywood Interrupted - Insanity Chic in Babylon, by Andrew Breitbart and Mark Ebner, he is described - along with Susan Sarandon - as "a bloviating bleeding heart". Yet the view of him that emerges through Down and Dirty Pictures, Peter Biskind's fascinating history of American independent film, is of a man who is not only "cautious by nature and almost paralysed by perfectionism" but occasionally duplicitous. In the book, Sundance becomes a dream destroyed by Redford's prevarications and by its movement ever closer to the values that hold sway in Hollywood. Yet few people can match his contributions to American film, on camera or behind the scenes. Maybe it's time to give the guy a break. From Sunny Oz, Rick :) Proud Keeper of the talented & beautiful Halle Berry.
- http://www.smh.com.au/news/Film/The-way-he-is/2004/11/26/1101219735856.html The way he is November 27, 2004 Cuff luck: Robert Redford plays a kidnapped businessman in The Clearing. To get to the heart of the Hollywood icon, Tom Ryan reads between the lines. Robert Redford is approaching 70. Seventy! And in most of the films he has made in the past decade, including his new one, The Clearing, age has clearly left its mark. The guy still looks good, but now there is always the qualifier, and it's a killer, "for his age". For those of us who grew up with the smiling, smooth-faced "Sundance" raising a bemused eyebrow and exchanging crackerjack quips with Paul Newman's "Butch", this is a jolting reminder of mortality. In my pantheon of male screen idols, he rates somewhere between Cary Grant and Daffy Duck, exuding the former's urbane glamour and rising far above the latter's manic befuddlement. I've never met him, or even seen him in person, but he's been part of my life. I've seen all but a couple of the films he has made as an actor, since his debut in War Hunt (1962), and the six he's made as a director, starting with Ordinary People, for which he won an Oscar for best director in 1981. I've read most of the rare interviews he's granted and I've watched him on TV chat shows, notably Parkinson in the 1980s, to which he brought a healthy dose of modesty that only enhanced his golden boy aura. But who is Robert Redford? Is there any connection between the man born Charles Robert Redford jnr in Santa Monica in 1937 and the characters he has played? Is it possible to probe the screen persona and find anything more than a mirage? Is he a mysteriously aloof stranger, the outlaw type, the hollow man or the world-weary lover? And what is the key to his charisma? Can we learn something about him from the cheeky grin he wears in Barefoot in the Park (1967) - a role he carried from an 11-month stint on Broadway, opposite Elizabeth Ashley, to the screen with Jane Fonda? Or from the malaise that underscores his characterisation of the kidnapped business magnate in The Clearing? It's impossible to know. All such a survey can do is sketch the parameters of the persona - an object of desire who generally turns out to be unattainable; a man of action who is equally at home with reflection; a figure simultaneously mythic and human; heroic and vulnerable; impossibly good-looking and surprisingly flawed. In short, a distinctive collection of potentially fascinating contradictions that filmmakers can use however they wish. Some of Redford's most rewarding roles have been the ones that turned the golden boy persona against itself, among them The Candidate (1972), The Way We Were (1973), The Great Gatsby (1974) and All the President's Men (1976) - each of which transforms the agent of the American dream into a source of anxiety. In a 1980 interview in Rolling Stone, Redford says: "I'm interested in what's wrong in what appears to be perfect." Redford's method - which the author David Downing memorably describes as "over-understatement" in his 1982 book about Redford - places him among actors whose performances are less about their emotive flexibility than about dramatic minimalism. The silent, melancholy look he gives Helen Mirren before he heads off to work at the beginning of The Clearing, his latest film to screen in Australia, says more about the state of their marriage than any extended exposition scenes ever could. Redford is a veteran of the less-is-more school. He's not like Jack Nicholson, Dustin Hoffman, Robert De Niro or Al Pacino, who have their own way of doing things. Redford will never chew up the scenery. He prefers to exist quietly within it, to gently nudge us towards an appreciation of his characters, rather than allowing them to loudly declare themselves. For some, this has always been a sign of his uncertainty as an actor. For others, such as director Sydney Pollack, who was cast alongside Redford in War Hunt and who has directed him seven times, it's an indication of his strength. "In my opinion, he's one of the best movie actors we've ever had in America. He's never doing nothing, but he does often hold something back, which, for me, only makes him more interesting." Pollack's deion of Redford as an actor also might well apply to his performances as a public figure. There is absolutely no reason to presume that the Robert Redford who occasionally steps away from his privacy and into the public eye is any less of a character than the ones he plays on screen. There is much that's consistent in the picture he constructs of himself and his world. This Robert Redford is thoughtful, but distant. He values his privacy and would much rather be alone in the Utah wilderness than attending some Hollywood premiere or giving an interview. Both are situations in which he's required to perform: to play Robert Redford. "I never aimed to be a sex symbol, a classical actor, a box-office draw, or any of those things," he says in Downing's book. "I just did my job, went home and put myself as far away from the movie-star thing as I could." Nevertheless, he's been prepared to speak up when the occasion demands, whether it's on behalf of his beloved Sundance Institute, which he established as a haven for independent filmmakers in 1981, or for environmental causes. He has always worn his liberal principles on his sleeve, but laughed at the idea that he might go into politics. Redford has also proclaimed his lack of interest in self-examination, describing himself as the antithesis of Woody Allen. "Some people have psychoanalysis. I have Utah," he says. His marriage at 21 to Lola van Wagenen ended in 1985. The couple had four children, one of whom died of sudden infant death syndrome. They are now grandparents. Since the divorce, Redford has been romantically linked with Debra Winger, Sonia Braga and costume designer Kathy O'Rear. Newspaper reports suggest that, although he is in a "happy relationship" with the German artist Sibylle Szaggars, the pair - in the style of Jean-Paul Sartre and Simone de Beauvoir - continue to live apart. Some of what emerges about Redford's life he is able to control. Most of it he's not. And he would seem to be at least partially responsible for a number of the revealing contradictions that have emerged. Redford has always said he hates the way he's treated as a walking photo opportunity. "The bad part is that you become an object," he told Esquire magazine in 1988. "And there are three dangerous stages to that: one, people start treating you like an object; two, you start behaving like an object; and three, you become one. That's terminal." Yet he's usually been prepared to take time out to pose for Annie Leibowitz's admiring camera, or for the covers of the publications in which these interviews have appeared. Clad in smart executive suits or designer leisure gear, he's at least arrived at stage two. He's also long been talking about abandoning acting. Downing quotes him as planning to call a halt to this part of his career soon after The Way We Were. "I am retiring from films, definitely," Redford announced. It's also curious to see someone who's been such a champion of independent filmmakers remain so close to the mainstream as an actor and also as a director. Only The Milagro Beanfield War (1988) and A River Runs Through It (1992), both of which he directed, can be described as even vaguely independent. While he may be a political liberal, he appears otherwise extremely reserved, leading Downing to dub him a "conservative rebel". Few of the films he has directed reflect a risk-taking personality. Perhaps his latest project, Aloft, the story of two men tracking the flight of the North American peregrine falcon, which is scheduled to go into production this year, will open up new directions. But he has been unable to control the increasingly personal, sometimes ageist, put-downs of his acting and directing. Equally hurtful must be the sneers at his life away from the camera. In Hollywood Interrupted - Insanity Chic in Babylon, by Andrew Breitbart and Mark Ebner, he is described - along with Susan Sarandon - as "a bloviating bleeding heart". Yet the view of him that emerges through Down and Dirty Pictures, Peter Biskind's fascinating history of American independent film, is of a man who is not only "cautious by nature and almost paralysed by perfectionism" but occasionally duplicitous. In the book, Sundance becomes a dream destroyed by Redford's prevarications and by its movement ever closer to the values that hold sway in Hollywood. Yet few people can match his contributions to American film, on camera or behind the scenes. Maybe it's time to give the guy a break. From Sunny Oz, Rick :) Proud Keeper of the talented & beautiful Halle Berry.
- http://www.zap2it.com/movies/news/story/0,1259,---24184,00.html LOS ANGELES (Zap2it.com) - Mario Lopez, who played high school wrestler A.C. Slater in the '80s show "Saved by the Bell," has a chokehold on another athletic role. The 31-year-old actor has been tapped as the lead in the Brazilian soccer drama "The Goal," to be executive produced by Spike Lee and Paolo Sadri, President of TMG Films. "I'm thrilled to be a part of this project which is about the greatest soccer team in the world, Brazil, and which will feature some of the most amazing world-cup soccer players, such as Romario, Ronaldo, Denilson, Rivaldo, and Roberto Carlos," says Lopez. Based on the screenplay by freshman director Art Sims, "Goal" centers on Topone (Lopez), a young man who rises out of the slums of Rio de Janeiro to become the world's best soccer player. He risks losing his career in soccer after tragedy strikes during a match at the Brazilian championship, until he is unexpectedly traded to the United States. Producers are also eyeing Ricky Martin, Enrique Iglesias, Sting, Sonia Braga, and Javier Bardem to add to the cast. Principal photography is scheduled for November in Rio De Janeiro, Brazil and Miami, Florida. "Goal" is just one of a slew of upcoming soccer-themed films including "The Game of Their Lives" starring Wes Bentley, "The Yank" starring Elijah Wood" and "Goal!," which will feature Real Madrid footballer David Beckham. Lopez's other credits include "Breaking the Surface: The Greg Louganis Story," "Pacific Blue" and "The Other Half" on TV and "Colors" on the big screen.
- http://www.smh.com.au/news/Film/The-way-he-is/2004/11/26/1101219735856.html The way he is November 27, 2004 Cuff luck: Robert Redford plays a kidnapped businessman in The Clearing. To get to the heart of the Hollywood icon, Tom Ryan reads between the lines. Robert Redford is approaching 70. Seventy! And in most of the films he has made in the past decade, including his new one, The Clearing, age has clearly left its mark. The guy still looks good, but now there is always the qualifier, and it's a killer, "for his age". For those of us who grew up with the smiling, smooth-faced "Sundance" raising a bemused eyebrow and exchanging crackerjack quips with Paul Newman's "Butch", this is a jolting reminder of mortality. In my pantheon of male screen idols, he rates somewhere between Cary Grant and Daffy Duck, exuding the former's urbane glamour and rising far above the latter's manic befuddlement. I've never met him, or even seen him in person, but he's been part of my life. I've seen all but a couple of the films he has made as an actor, since his debut in War Hunt (1962), and the six he's made as a director, starting with Ordinary People, for which he won an Oscar for best director in 1981. I've read most of the rare interviews he's granted and I've watched him on TV chat shows, notably Parkinson in the 1980s, to which he brought a healthy dose of modesty that only enhanced his golden boy aura. But who is Robert Redford? Is there any connection between the man born Charles Robert Redford jnr in Santa Monica in 1937 and the characters he has played? Is it possible to probe the screen persona and find anything more than a mirage? Is he a mysteriously aloof stranger, the outlaw type, the hollow man or the world-weary lover? And what is the key to his charisma? Can we learn something about him from the cheeky grin he wears in Barefoot in the Park (1967) - a role he carried from an 11-month stint on Broadway, opposite Elizabeth Ashley, to the screen with Jane Fonda? Or from the malaise that underscores his characterisation of the kidnapped business magnate in The Clearing? It's impossible to know. All such a survey can do is sketch the parameters of the persona - an object of desire who generally turns out to be unattainable; a man of action who is equally at home with reflection; a figure simultaneously mythic and human; heroic and vulnerable; impossibly good-looking and surprisingly flawed. In short, a distinctive collection of potentially fascinating contradictions that filmmakers can use however they wish. Some of Redford's most rewarding roles have been the ones that turned the golden boy persona against itself, among them The Candidate (1972), The Way We Were (1973), The Great Gatsby (1974) and All the President's Men (1976) - each of which transforms the agent of the American dream into a source of anxiety. In a 1980 interview in Rolling Stone, Redford says: "I'm interested in what's wrong in what appears to be perfect." Redford's method - which the author David Downing memorably describes as "over-understatement" in his 1982 book about Redford - places him among actors whose performances are less about their emotive flexibility than about dramatic minimalism. The silent, melancholy look he gives Helen Mirren before he heads off to work at the beginning of The Clearing, his latest film to screen in Australia, says more about the state of their marriage than any extended exposition scenes ever could. Redford is a veteran of the less-is-more school. He's not like Jack Nicholson, Dustin Hoffman, Robert De Niro or Al Pacino, who have their own way of doing things. Redford will never chew up the scenery. He prefers to exist quietly within it, to gently nudge us towards an appreciation of his characters, rather than allowing them to loudly declare themselves. For some, this has always been a sign of his uncertainty as an actor. For others, such as director Sydney Pollack, who was cast alongside Redford in War Hunt and who has directed him seven times, it's an indication of his strength. "In my opinion, he's one of the best movie actors we've ever had in America. He's never doing nothing, but he does often hold something back, which, for me, only makes him more interesting." Pollack's deion of Redford as an actor also might well apply to his performances as a public figure. There is absolutely no reason to presume that the Robert Redford who occasionally steps away from his privacy and into the public eye is any less of a character than the ones he plays on screen. There is much that's consistent in the picture he constructs of himself and his world. This Robert Redford is thoughtful, but distant. He values his privacy and would much rather be alone in the Utah wilderness than attending some Hollywood premiere or giving an interview. Both are situations in which he's required to perform: to play Robert Redford. "I never aimed to be a sex symbol, a classical actor, a box-office draw, or any of those things," he says in Downing's book. "I just did my job, went home and put myself as far away from the movie-star thing as I could." Nevertheless, he's been prepared to speak up when the occasion demands, whether it's on behalf of his beloved Sundance Institute, which he established as a haven for independent filmmakers in 1981, or for environmental causes. He has always worn his liberal principles on his sleeve, but laughed at the idea that he might go into politics. Redford has also proclaimed his lack of interest in self-examination, describing himself as the antithesis of Woody Allen. "Some people have psychoanalysis. I have Utah," he says. His marriage at 21 to Lola van Wagenen ended in 1985. The couple had four children, one of whom died of sudden infant death syndrome. They are now grandparents. Since the divorce, Redford has been romantically linked with Debra Winger, Sonia Braga and costume designer Kathy O'Rear. Newspaper reports suggest that, although he is in a "happy relationship" with the German artist Sibylle Szaggars, the pair - in the style of Jean-Paul Sartre and Simone de Beauvoir - continue to live apart. Some of what emerges about Redford's life he is able to control. Most of it he's not. And he would seem to be at least partially responsible for a number of the revealing contradictions that have emerged. Redford has always said he hates the way he's treated as a walking photo opportunity. "The bad part is that you become an object," he told Esquire magazine in 1988. "And there are three dangerous stages to that: one, people start treating you like an object; two, you start behaving like an object; and three, you become one. That's terminal." Yet he's usually been prepared to take time out to pose for Annie Leibowitz's admiring camera, or for the covers of the publications in which these interviews have appeared. Clad in smart executive suits or designer leisure gear, he's at least arrived at stage two. He's also long been talking about abandoning acting. Downing quotes him as planning to call a halt to this part of his career soon after The Way We Were. "I am retiring from films, definitely," Redford announced. It's also curious to see someone who's been such a champion of independent filmmakers remain so close to the mainstream as an actor and also as a director. Only The Milagro Beanfield War (1988) and A River Runs Through It (1992), both of which he directed, can be described as even vaguely independent. While he may be a political liberal, he appears otherwise extremely reserved, leading Downing to dub him a "conservative rebel". Few of the films he has directed reflect a risk-taking personality. Perhaps his latest project, Aloft, the story of two men tracking the flight of the North American peregrine falcon, which is scheduled to go into production this year, will open up new directions. But he has been unable to control the increasingly personal, sometimes ageist, put-downs of his acting and directing. Equally hurtful must be the sneers at his life away from the camera. In Hollywood Interrupted - Insanity Chic in Babylon, by Andrew Breitbart and Mark Ebner, he is described - along with Susan Sarandon - as "a bloviating bleeding heart". Yet the view of him that emerges through Down and Dirty Pictures, Peter Biskind's fascinating history of American independent film, is of a man who is not only "cautious by nature and almost paralysed by perfectionism" but occasionally duplicitous. In the book, Sundance becomes a dream destroyed by Redford's prevarications and by its movement ever closer to the values that hold sway in Hollywood. Yet few people can match his contributions to American film, on camera or behind the scenes. Maybe it's time to give the guy a break. From Sunny Oz, Rick :) Proud Keeper of the talented & beautiful Halle Berry.
- Celebrity Gossip
- Sexy, smoldering actress who rose to stardom in her native country through work on a series of lavish soap operas for the Brazilian network TV Globo. She was featured in the films A Moreninha (1969), Captain Bandiera vs. Dr. Moura Brasil (1970) and The Couple (1974), but it wasn't until her role as a woman with two lovers-her husband, who is alive, and her ex-husband, who is a ghost-in Dona Flor and Her Two Husbands (1978), that she gained international attention. Braga was the main attraction in Lady on the Bus (1978), I Love You (1981) and Gabriela (1983, a remake of one of the soaps in which she performed) and she made her Englishlanguage debut in Kiss of the Spider Woman (1985) playing three roles: Raul Julia's girlfriend, a French chanteuse, and the title character. Her subsequent American efforts-The Milagro Beanfield War, Moon Over Parador (both 1988), and The Rookie (1990)-have not come close to unleashing the sensuality she has demonstrated, clothed and unclothed, in her previous work. Most recently, she appeared in Roosters (1995) with Edward James Olmos.
- Measurements: 34 1/2-24-36 1/2 (Source: Celebrity Sleuth magazine)
- Known as the "Brazilian Bombshell".
- Was involved for some years with Robert Redford.
- Sonia Braga is related!
- Scarlett Johansson
- Katie Holmes
- A nightly updated image feed of Sonia Braga is available.
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66 pics of Sonia Braga and 539,315 images of 17,197 celebrities!

In 1999, Sonia Braga plays the part of Herself - Presenter in the production of Bigger Than Tina.

For the 1911 production of Accidental Outlaw, An, Sonia Braga is cast in the role of Josephine Pogue.

Sonia Braga plays Victim in the 2000 show Animated Epics: Don Quixote.

She plays Nurka in the 1980 movie Bicheongwon.

She takes the role of Regina de Catrvalho in the 2005 show 1526 metros sobre el nivel del mar.

Sonia Braga stars as Maria Lúcia in the 1930 feature Chelovek iz mestechka.

Sonia Braga plays Dona Flor (Florípides) Guimarães in the 1996 show Anino sa dilim.

For the 2005 video Alan Partridge's Top Teen Tunes., Sonia Braga plays Iris.

For the 2005 production of February 14, Maria.

In 1988, Quixtla in the feature The Bomb.

In 2004, she stars as Gabriela in the video Bad Santa: Not Your Typical Christmas Movie.

In 2004, she is cast in the role of Lily Acosta in the release Beyond the Pale: A Look Back.

For the 1952 movie Awa ng birhen sa Baclaran, she stars as Leni Lamaison/Marta/Spider Woman.

She takes the role of Loah in the 1920 show From Now On.

In 1921, she is cast in the role of Emily Del Pino Pacheco/Roberts in the feature Bits of Life.

In 2004, Sonia Braga plays Ruby Archuleta, Owner Ruby's Body Shop in the movie Astig.

For the 1991 movie Black Balled, she plays the part of Irene.

Sonia Braga's character is Madonna in the 2003 video Back to Basics.

She takes the role of Carolina, a Moreninha in the 2008 show 27 Times.

She plays Sephora in the 1960 tv series Azouk.

In 1996, she takes the role of Irine Mancini in the release of Camping Cosmos.

Sonia Braga's character is Liesl in the 1988 feature Aaj Ke Angaarey.

In 1990, she is cast in the role of Juana Morales in the show Drowning in the Shallow End.

For the 1914 movie The Attic Above, she is cast in the role of Celia Crouch.

For the 1998 release of Captive, she plays Pablo's Mother.

In 2004, Sonia Braga plays Tieta in the movie 26.04.86: Una primavera en la memoria.

For the 1990 movie Children of Fire, Sonia Braga stars as Ana Puscasu.

She takes the role of Berta Gonzalez in the 2007 show Archer House.

In 2005, she stars as Gelly in the feature Bar Moments.

For the 1967 production of Akhtar ragol fil alam, she plays Júlia Matos.

In 2007, Sonia Braga stars as Brisa in the release of Back Issues.

For the 1996 video Anal Cornhole Cuties, she is cast in the role of Gabriela.

Sonia Braga plays Marcina in the 2006 production Coast Guard at War.

In 1996, she is cast in the role of Flávia in the Anal Cry Babies.

In 1981, she stars as Maria Garza in the The Barber of Seville.

For the 1986 release of Anemia, Sonia Braga stars as Jessica Lopez de la Cruz.

In 2006, Sonia Braga is cast in the role of Clotilde in the show CHI Enforcement Unit.

For the 1992 Final Anal Tease, she stars as Tina.

For the 1912 movie Gossip, she plays Nurka.