Brazilian Cinema

Rio de Janeiro, 1950. Eurídice, 18, and Guida, 20, are two inseparable sisters living at home with their conservative parents. Although immersed in a traditional life, each one nourishes a dream: Eurídice of becoming a renowned pianist, Guida of finding true love. In a dramatic turn, they are separated by their father and forced to live apart. They take control of their separate destinies, while never giving up hope of being finding each other. A tropical melodrama from the director of Madame Satã.

After leaving her daughter Jessica in a small town in Pernambuco to be raised by relatives, Val spends the next 13 years working as a nanny to Fabinho in São Paulo. She has financial stability but has to live with the guilt of having not raised Jessica herself. As Fabinho’s university entrance exams approach, Jessica reappears in her life and seems to want to give her mother a second chance. However, Jessica has not been raised to be a servant and her very existence will turn Val’s routine on its head. With precision and humour, the subtle and powerful forces that keep rigid class structures in place and how the youth may just be the ones to shake it all up.

Irene lives in a crumbling house in the outskirts of Rio with her husband and her four sons. Her teenage son Fernando is a local handball star and when he’s scouted to play professionally in Germany, the family has only a few weeks to ready his departure and say goodbye. The perspective of Fernando leaving is a shock and a big change in Irene’s life but also a chance to see herself as a woman again and not just as a mother. Irene gets her high-school diploma, finds a new job and pushes forward with plans for a new family home. As she flourishes, things begin to look up for her family as well. Irene understands that while some things come to an end, new things start and the future is bright as long as they stick together.

Nuria, 12, Fabio, 9, and their mother Amparo arrive in a small island in the middle of Amazonia, at the border of Brazil, Colombia and Peru. They ran away from the Colombian armed conflict in which their father disappeared. One day, he reappears in their new house. The family is haunted by this strange secret and discovers the island is peopled with ghosts.

A mysterious and deadly pink cloud appears across the globe, forcing everyone to stay home. Strangers at the outset, Giovana and Yago try to invent themselves as a couple as years of shared lockdown pass. While Yago is living in his own utopia, Giovana feels trapped deep inside.

The action of the movie takes place in the sertao, the desertified Northeast backlands of Brazil, that is traditionally beyond the rule of law, and that was the site of some of most enduring folklore. The sertao is the region of myth, encapsulated by the historical world of progress symbolized by the highway. The tale employs the cast of folklore characters: the colonel of the ranch; his mistress; the colonel's sidekick; the colonel's enforcer; local bandits (typical of the gangs that grew up in the region either as enforcers or as rural poor abandoned by a patron who lost a local battle); a group of millenialists (similarly, typical of groups of disenfranchised rural poor); the local teacher, a dependent of the colonel. «Antonio das Mortes» is a character at at war with himself.

In a tiny village on the northeastern coast of Brazil, the young fisherman Jusce scrapes out a living by diving 30 meters with rudimentary equipment for lobster. His prize’ at the end of a long day of risky work is sitting close to Ana as she savors the drama of urban sophisticates on her favorite soap opera. Ana dreams of leaving the village to see the world. Jusce is content with the life he leads. Jusce’s old fishing buddy - Rogerio - returns from the big city for holidays. With his Buggy he drives around the dunes and scores Ana’s immediate attention. The day Rogerio gives Jusce a ride to Ana’s marks the beginning of their rivalry for Ana’s attention. Jusce has to reinvent himself in order not to loose Ana to the adventurous life style of Rogerio. Russian-born Kirill Mikhanovsky locates his love story in an impoverished fishing village in Brazil against the background of the harsh daily life of the fishermen. In expert manner the debut-director handles both image and sound, which intertwine provocatively throughout this visually impressive sleeper hit of the Cannes Critics’ Week.

First presented and highly debated at the 1980 Venice Film Festival, this film became the legacy of the late Glauber Rocha, who noted: "A idade da terra (The Age of the Earth) is the decomposition of the narrative sequence without losing the infrastructural discourse that is supposed to materialize the most representative signs of the Third World. The film offers a symphony of images and sound or is an anti-symphony that puts the essential problems into the background. This film can only be classified in this way: He is my portrait next to the portrait of Brazil." As someone writes on Imdb, the film is not ideal for an audience that is afraid of experimental and controversial works. Anyone who appreciates Glauber Rocha and his radicalism understand this film as a single rebellion that was to become Glauber Rocha's last rebellion: The committed and enraged Brazilian, who had a major influence on "Cinema Novo", died in 1981 from the consequences of a lung infection.

Rocha's film debut: The fishermen in a village in Bahia on the north coast of Brazil have to rent their net from a trader and give up 90 percent of the catch. What's more, the net owner keeps threatening to take their tools away from them. The black community, like two years later in "Deus e o Diabo na Terra do Sol", does not rebel; they endure exploitation by the white crook in the belief that one day the gods will help it out of their misery. Firmino, a young man with new ideas who has returned from the city to his village, rebels against fatalism. He cuts the fishermen's net, which belongs to the merchant, in order to persuade them to help themselves. Glauber Rocha, in his first work, draws not only the rhythm of his sequences, but also the essence of his narrative from the sometimes calm and sensual, sometimes excited and inexorable play of sea and earth. By describing the simple life of the slave descendants, he anchors his film in reality. The film resembles a free, unleashed poem and still grips today through the charisma of its images.

Birdwatchers (La terra degli uomini rossi) is a film set in Brazil, in the Matto Grosso do Sul. It depicts the breakdown of a community of Guarani-Kaiowa native Indians whilst attempting to reclaim their ancestral land from a local farmer.

Tati and Renet are high school students who share an instant connection over social media that deepens during a class trip. Their nascent relationship screeches to a halt the next day, though, once Tati discovers that her lost phone has resulted in the leaking of an intimate video to the entire school. Desperate for answers and frustrated at the shaming that ensues, Tati tries to hold her head high even as her resolve threatens to crumble. Simultaneously, Renet grapples with instability at home, where his separated parents vie for control over what is best for their children, and their fragmented parenting starts to take its toll.

An astonishing creation, Limite is the only feature by the Brazilian director and author Mário Peixoto, made when he was just twenty-two years old. Inspired by a haunting André Kertész photograph on the cover of a French magazine, this avant-garde silent master­piece centers on a man and two women lost at sea, their pasts unfolding through flashbacks propelled by the music of Erik Satie, Claude Debussy, Igor Stravinsky, and others. An early work of independent Latin American filmmaking, Limite was famously difficult to see for most of the twentieth century. It is a pioneering achievement that continues to captivate with its timeless visual poetry.

El Dorado, a fictional country. Paulo, a poetry-writing intellectual, oscillates between the political extremes. First he devotes himself to the right-wing conservative Diaz, until he sees through the latter’s pseudo-religious fascism. Then he takes the side of Vieira, the populist reformer who wants to free the country of its misery. But Paulo’s true love is for Sara, the communist who works for Vieira. Paulo is forced to realize that both are interested only in power, not in change, and that they are willing to use any means to achieve their end. Disappointed and despairing, he sets off on his own path as a revolutionary, a path on which Sara is no longer able to follow him. He is shot and dies a lonely death, with a gun in his hand, sending a signal for others to take up arms. The lasting relevance of this masterpiece lies in the scene of long agony before Paulo dies. Sara calls out the question to him, “What does your death prove?” And he answers, “The victory of beauty and justice!” Glauber Rocha trusts in culture’s power of survival and connects it with the necessary struggle for social justice.

Rosa is in her late 30s, a child of the 1970s with divorced parents. She lives with her own family in São Paulo. Overwhelmed by an eruption of individual passions, lies and the expectations of three generations, she tries to discover who she really is.

What if the only evidence of a crime is the testimony of a parent translating the words of her child? Rubens is a carefree, charismatic swimming instructor who finds himself accused of displaying inappropriate affection toward one of his students by the boy’s mother. Other parents and colleagues are only too eager to condemn him. Jabor’s incisive, unsettling debut maintains an intriguing, tension-filled air of mystery even as it exposes our own propensity to pass judgment.