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Description
philodendron foliage Philodendron fibraecataphyllum – Foliage FactoryPhilodendron fibraecataphyllum Philodendron fibraecataphyllum is a climbing Araceae species with green leaves that become broader and more developed as the plant matures. Young plants start with simpler foliage, then gain a stronger mature shape once the stem climbs and the aerial roots attach. Old cataphylls can leave dry fibres around the nodes, giving the stem a textured surface. Good airflow around the stem and an airy root zone help the plant
Philodendron fibraecataphyllum
Philodendron fibraecataphyllum is a climbing Araceae species with green leaves that become broader and more developed as the plant matures. Young plants start with simpler foliage, then gain a stronger mature shape once the stem climbs and the aerial roots attach.
Old cataphylls can leave dry fibres around the nodes, giving the stem a textured surface. Good airflow around the stem and an airy root zone help the plant stay healthy in warm, humid conditions.
Fibrous nodes on Philodendron fibraecataphyllum
- Stem detail: Dry cataphyll fibres can remain around nodes after new leaves emerge.
- Mature foliage: Leaves can become broader and more divided-looking as climbing growth develops.
- Growth habit: Climbing Philodendron with aerial roots along the stem.
- Family: Araceae.
- Origin: Native to western Colombia and Ecuador.
- Support: A moss pole, plank or slab helps the stem attach and develop stronger mature growth.
Philodendron fibraecataphyllum in lowland wet forest
Philodendron fibraecataphyllum comes from lowland wet tropical forest in western Colombia and Ecuador. Its climbing habit, aerial roots and fibrous cataphyll remains fit warm forest conditions where stems attach to surrounding vegetation while the root zone stays open and oxygen-rich.
In cultivation, the fibrous node detail is part of the plant’s character. Keep old cataphyll material dry between waterings, especially around nodes where moisture can collect.
Philodendron fibraecataphyllum care for fibrous stems and climbing growth
- Light: Give bright indirect light so larger leaves can develop while soft new growth stays protected from scorch.
- Watering: Water thoroughly after the upper substrate begins to dry, then let excess water drain fully.
- Humidity: Aim for moderate to high humidity, especially while larger leaves are unfurling.
- Temperature: Keep warm, ideally around 18–28 °C, and avoid cold draughts or chilled wet substrate.
- Substrate: Use a coarse aroid mix with bark, pumice or perlite, plus enough organic material to hold light moisture.
- Support: Give the stem a moss pole, plank or slab so aerial roots can attach and leaf size can build over time.
- Airflow: Keep gentle air movement around the stem so cataphyll fibres dry between waterings.
- Fertilising: Feed lightly during active growth with a balanced fertiliser, reducing strength when growth slows.
- Repotting: Repot when roots circle the pot or the mix starts to compact; avoid oversized containers that stay wet too long.
- Propagation: Propagate from stem cuttings with at least one node and a healthy aerial root or root-starting point.
- Pruning: Cut above a node to shorten long stems or remove damaged growth.
- Semi-hydroponics: Suitable for airy mineral substrates if the plant is transitioned gradually and the reservoir is kept clean.
Philodendron fibraecataphyllum issues at nodes and roots
- Damp fibres at nodes: Improve airflow and avoid splashing the stem when watering.
- Small new leaves: Check light level, support and root health before changing fertiliser.
- Brown patches on new growth: Look for direct sun, mechanical damage or pests hiding in folded leaves.
- Root rot: Sour-smelling mix, limp growth and blackened roots point to poor aeration or watering too often.
- Soft roots: Replace compacted substrate with a chunkier mix and reduce watering frequency.
- Pests: Inspect new growth, petioles, leaf undersides and fibrous stem areas for thrips, spider mites, scale or mealybugs.
Philodendron fibraecataphyllum pet safety
Philodendron fibraecataphyllum contains irritating calcium oxalate crystals. Keep it away from pets, and dispose of pruned stems or old cataphyll material where animals cannot reach it.
Philodendron fibraecataphyllum name and publication
The genus name Philodendron comes from Greek roots meaning tree-loving. Philodendron fibraecataphyllum was described by M. Marcela Mora and Thomas B. Croat in Phytotaxa in 2016. The epithet fibraecataphyllum is formed from fibrae, meaning fibres, and cataphyllum, referring to cataphylls.
Order Philodendron fibraecataphyllum if you want a green climbing Philodendron with fibrous cataphyll remains and mature foliage that gains more shape with height.
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4.6 ★★★★★
Based on 22 reviews
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Product Reviews
★★★★★ 5
BLU RAY is the 132 minute Original U.S. Theatrical Cut FINALLY!!!!
]
On this Blu-ray for the first time ever we get the ORIGINAL 132 minute version of the film as was shown in U.S. theaters.
(Note: This is NOT the "Love Conquers All" Sheinberg/TV Edit.)
All the DVD releases before this have been the European Version/Director's Cut of the film. Even the original Universal DVD release that said Theatrical Cut on the box actually had the European Version/Director's Cut.
Unfortunately, Universal didn't really spend any time cleaning up the negative for Hi-Definition (there is very noticeable instances of dirt and debris on the negative) but it still beats the image quality found on the Universal SD DVD, and they do include an amazing DTS-HD Master 5.1. We'll just have to wait for the Criterion Blu-ray of Brazil for image perfection but serious fans of Brazil will want to get this Blu-ray edition just to have this version of the film as it was originally seen in theaters in 1985.
I actually find this 132-minute version is in many ways a superior cut of the film. Here are the differences in detail:
*In the 132-minute version you cut from Sam in bed with Jill, police sack goes
over head, then CUT TO Pull off police sack to reveal Sam in Torture
Chamber/Interrogation chair. This one cut is simply brilliant and very powerful.
In the Criterion Version you have the added scene of Mr. Helpman as Father
Christmas (completely out of charcater from the rest of the film) and the whole
interrogation scene of Sam hanging from the rack inside the police/mail pouch
which becomes narratively redundant and dilutes the impact of the final scene.
*To end it with cooling tower/interrogation room fade to clouds was a great Gilliam
wink of subversion and irreverence to the cliche Hollywood Ending. As opposed to
the European cut of just credits over cooling tower/interrogation room.
*The Samurai Scene is divided into 3 separate scenes in the 132-minute version
versus 1 LONG scene in the European cut. And you know what? Like most things,
it works better in 3's.
*The 132-minute version cuts straight to the Dinner Scene with Ida (his mother)
ordering numero deux, trois, etc. while the European version has the entrance to
the restaurant of going through the metal detector which really doesn't add
anything and is again a bit redundant when the bomb does eventually go off in
the restaurant. With the scene, you're signaling to the audience we are looking for a bomb, so we expect a bomb. Without the added scene, the bombing is unexpected and it actually shocks you so you're both horrified and laughing. The unexpectedness also works as it builds upon the bomb motif from the first explosion at the beginning of Brazil during the Ducts advert.
*And finally I just love that the 132-minute version opens on those clouds (outtakes
from The Never-Ending Story) then goes to the Central Services advert about
Ducts: "Are your ducts old-fashioned, out-of-date... " Now the Criterion version
also has the clouds opening (The Original European Cut didn't) but it's funny
because the Studio asked Gilliam to start off with the clouds for the US Cut and he
actually prefers it as quoted in his Director's commentary. Hilarious.
Little changes that add up to a tighter and overall, better film.
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Reviewed in the United States on July 12, 2011
★★★★★ 5
Great cast; well directed
Great movie; lives up to its reviews
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Reviewed in the United States on March 25, 2026
★★★★★ 5
An ageless classic !
I hadn't re-watched this movie since the first time I saw it, when it came out in 1985. Back then, it had stricken the public with its fatalistic and pessimistic view of an overwhelming bureacracy, a suggested characteristic of fully-centralised power in a controlled society in the future.
Today, we can still admire some of its validity and premonitory qualities (and the sarcastic humour !). The dream-like scenes and symbols used in the film are also ageless.
Ever-growing computer systems govern today the relationships we hold with banks, government departments, utilities, phone companies, etc. Who hasn't experienced the frustration of dealing with their 'machines' and/or incompetent & robotic bureaucrats when problems or errors arise in their service? 'Brazil' will seem so familiar!
The omni-presence of screens in our lives, everywhere and incessantly offering us products or services, or used to control our movements and behaviour, is also a well-guessed futuristic scenario by Gilliam & co.
And what to say about the 'terrorism' and the 'permanent state of fear' portrayed back then? Sounds familiar today?
I recommend this movie to anyone interested in the threats of an unbridled, arrogant and all-powerful bureaucracy in human society.
The film can be a bit 'heavy' at times, though. Not everyone's cup of tea.
Watch it first, before sharing with friends or family.
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Reviewed in the United States on February 19, 2012
★★★★★ 5
The music is lovely, Catherine Deneuve is beautiful and the story will tear you apart.
The word "Masterpiece" is thrown about often in the worlds of film and music but in this case this is the real thing. The Umbrellas of Cherbourg is one of those rare instances where everything came together in a film in a serendipitous way that would never be duplicated. Not only that, but made by two up and coming young men who had only done two films before with a cast of mostly unknowns. Then, to top it all off, it would not just be a musical, but a film sung completely through like opera, something completely unique and untried. Try selling a concept like that to one of today's studios. Fortunately the early sixties was a much looser time with many movie studios and open minds willing to try new things.
The director was Jacques Demy, whose first film, Lola (1961) included music but was shot in the more usual black and white. His co-creator was Michel Legrand, already known as a jazz pianist who had had hit albums and even toured America. The music would be light,, but not operetta; it would be updated to include strong influences of chanson, pop and jazz with a little Baroque counterpoint thrown in (Legrand had been classically trained). This time the film would be shot in super-saturated color with sets painted vibrant, almost expressionist colors. And it all would center around a young and virtually unknown Catherine Deneuve and Nino Castelnuovo as Genevieve and Guy, the very personification of young love in a rainy Spring.
The resulting film is completely transporting. The story is very old, the treatment very new and the end result is something to be experienced. The singing somehow seems completely natural, more natural in a way, than films with spoken dialogue that break into songs from time to time. Here in a world of continuous music, love has turned everything into a dizzily colored poem that peaks when Guy is to be sent away to fight in the war in Algeria. Fate takes a big hand in the consequences creating unforseen results. The supporting cast are as good as the principals, with Anne Vernon (Madame Emery) the veteran of many films and Marc Michel (Roland Cassard) coming in having played the same character in Lola, a signature quirk of the director. The music produced two early sixties hits, I Will Wait For You and Watch What Happens. Mr. Legrand's familiarity with the worlds of pop and jazz kept everything fresh-sounding and up to date. You also note subtle touches like the opening jazzy music set in 1957 is very brassy and big band sounding while in the 1963 final scene it's the cool jazz of that time. The colors are so captivatingly brilliant that when establishing shots of the actual Cherbourg are shown it seems like another world.
If you like romances, this is one of the classics. If you are open to musicals you will have no trouble with the fact that the entire film is sung. This is a most memorable and worthy film.
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Reviewed in the United States on January 31, 2016
★★★★★ 5
My favorite movie musical
The Umbrellas of Cherbourg (1964, Jacques Demy, Director) is a very straightforward love story that’s fairly predictable, but that doesn’t take away from its absorbing allure. In fact, I love this film so much that I’m willing to overlook some of the minor flaws in the blu ray transfer from Criterion. This transfer is somewhat grainy/hazy in picture quality, and the sound isn’t exactly clear; in fact, it can be slightly muffled at times. However, I’m not going to dwell on these few minor imperfections. Now, for the heart of the review: The Umbrellas of Cherbourg is so unique in that all of the dialogue is sung. This is definitely an acquired taste, but about 15-20 minutes in, I was used to it and all-in. The next thing that becomes obvious is its rich color; it’s sort of pastel-like, with some backgrounds that are quite striking. Finally, the last thing that jumps out is the continuous upbeat music in the film, with the exception of the main theme, which is an emotionally-charged melancholy number by Michel Legrand that is the heartbeat of the film. This film is really a heartfelt love story where fate is the prevailing narrative and force. It’s a film about important decisions and their outcomes. Along the way, there are familial issues, death, rebuilding with emotional crutches, and some humor injected at just the right times. Some of the dialogue is cliched, but I guess that’s par for the course in a love story? Finally, while watching this film, I could definitely see where the 2016 film, La La Land took so much inspiration from, especially the ending sequence and the upbeat musical numbers. Overall, The Umbrellas of Cherbourg is a masterpiece of a film that’s essential to your blu ray collection. The Criterion Collection usually does a stellar job with resorting older films, but for some reason this isn’t their best work. I was expecting better quality. The blu ray also contains some nice special features.
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Reviewed in the United States on July 22, 2025