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In Brazil, in the 1960's,
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00:01:02,641 --> 00:01:05,391
with an idea in their heads
and a camera in their hands,
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00:01:05,416 --> 00:01:07,849
moviemakers from
Cinema Novo movement
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00:01:07,873 --> 00:01:09,955
made films with the
ambition to change the world.
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00:01:09,979 --> 00:01:12,570
It was an era where art, utopia
and revolution got together.
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00:01:12,594 --> 00:01:14,837
An adventure of
creation, friendship,
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00:01:14,861 --> 00:01:16,923
nonconformity, with
brand new ideas.
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00:01:16,947 --> 00:01:19,902
That presented new
images of Brazil to the world.
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00:03:00,050 --> 00:03:04,773
This is the temple of
magic. The dream factory!
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00:03:05,674 --> 00:03:08,339
The mantle of memory!
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00:03:12,874 --> 00:03:16,473
I can give you rivers of tears!
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00:04:35,010 --> 00:04:39,211
In this land, the only worthy
men are those who use their guns
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00:04:39,278 --> 00:04:41,377
to change their fate.
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00:04:43,186 --> 00:04:45,504
Not the rosary, Satan.
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00:04:47,152 --> 00:04:49,383
The rifle and the dagger!
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00:06:07,322 --> 00:06:12,346
To create a Brazilian image following
our ambition to transform Brazil.
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00:06:12,414 --> 00:06:14,547
- A cinema of disruption.
- An act of courage!
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00:06:14,614 --> 00:06:18,448
- Complete audacity.
- Grammar.
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00:06:18,515 --> 00:06:20,381
- Expression.
- "Newcap".
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00:06:20,448 --> 00:06:22,381
A new capital, Bossa Nova.
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00:06:22,448 --> 00:06:23,747
Cinema Novo.
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00:06:24,248 --> 00:06:28,547
It started with Mario Peixoto,
Humberto Mauro and Alberto Cavalcanti.
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00:06:29,048 --> 00:06:32,447
The dreams of Brazilian people,
effectively portrayed on the screens.
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00:06:32,648 --> 00:06:38,014
In history, the revolutionary result
of a process of cultural formation...
27
00:06:40,216 --> 00:06:43,915
We knew we needed to be
the protagonists of that story.
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00:07:04,049 --> 00:07:07,249
Cinema, cinema, cinema.
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00:07:08,184 --> 00:07:11,116
We are talking about cinema.
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00:08:13,787 --> 00:08:16,986
Mauro is the founder of
the Brazilian cinematic style.
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00:08:17,454 --> 00:08:20,754
He's the pioneer of Cinema Novo.
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00:08:21,521 --> 00:08:27,021
And his cultural relevance matches
that of Villa-Lobos, Guimarães Rosa
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00:08:27,088 --> 00:08:28,453
or Portinari.
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00:08:28,521 --> 00:08:31,854
We cannot ignore Mauro now
and we can ignore him in the future.
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00:08:31,921 --> 00:08:36,854
If the current generation has
learned so much from his framing style,
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00:08:36,921 --> 00:08:41,863
his poetic atmosphere, his
social and human commentary,
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00:08:42,755 --> 00:08:45,521
future generations will have
even more to learn from him.
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00:08:46,322 --> 00:08:52,054
In time, his work becomes
classical, deeper, more resistant.
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00:09:21,990 --> 00:09:24,555
Nelson, Nelson
Pereira dos Santos.
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00:09:24,623 --> 00:09:26,193
The first time...
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00:09:28,732 --> 00:09:31,757
I was near him or
felt his presence
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00:09:32,224 --> 00:09:35,051
was during all that fuss...
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00:09:36,129 --> 00:09:38,657
about "Rio 40 Degrees".
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00:09:38,724 --> 00:09:43,190
I watched movies but I'd
never thought of making them.
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00:09:43,257 --> 00:09:45,323
I watched films
constantly, every day.
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00:09:45,391 --> 00:09:48,657
It was playing at the America
on Saenz Pena Square.
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00:09:48,724 --> 00:09:51,590
Lots of queues and
lots of conversations.
48
00:09:51,657 --> 00:09:52,890
That was very important.
49
00:09:52,957 --> 00:09:56,058
Then I went to see Nelson. I made
a point of watching "Rio, North Side",
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00:09:56,125 --> 00:09:59,958
Some shootings of "Rio, North
Side". Nelson told me to grab a chair.
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00:10:00,025 --> 00:10:04,757
Because I wanted to know what
was that cinema business all about.
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00:10:09,525 --> 00:10:13,791
I teased her but she
didn't even bother
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00:10:13,858 --> 00:10:19,859
and told me to go back to
school and learn the ABC.
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00:10:19,926 --> 00:10:25,025
So, I told her,
"Come and teach me then."
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00:10:25,626 --> 00:10:35,592
Brunette, come a little closer.
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00:10:36,326 --> 00:10:45,093
Come, brunette, come
teach me the verb to love.
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00:10:45,160 --> 00:10:51,060
Here I am. Brunette, come
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00:10:51,127 --> 00:10:55,959
give me your love.
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00:11:06,860 --> 00:11:09,194
I was afraid of Nelson!
What is this guy up to?
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00:11:09,428 --> 00:11:15,400
Because he was always quiet,
his presence was magnetic,
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00:11:15,595 --> 00:11:20,394
he attracted a lot of people.
But, at the same time, fearsome.
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00:11:20,461 --> 00:11:23,361
Nelson, Ruy and Luis
Carlos were the eldest.
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00:11:23,428 --> 00:11:27,071
But, at that time, I was
most afraid of Nelson.
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00:11:27,095 --> 00:11:30,413
And Nelson's presence
was very... He had his ways.
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00:11:30,561 --> 00:11:34,461
He never told you what to do but
you'd end up doing what he wanted.
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00:11:34,996 --> 00:11:37,595
He had his ways of making
you do what he wanted.
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00:11:37,729 --> 00:11:41,661
And he was a beacon for us.
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00:11:53,562 --> 00:11:56,930
In the very beginning,
it was just a human,
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00:11:56,997 --> 00:11:58,796
individual impulse.
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00:12:00,330 --> 00:12:04,830
Obviously, with the support of
a big group of people who really
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00:12:04,897 --> 00:12:09,996
wanted to make cinema
in a new and different way.
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00:12:11,363 --> 00:12:15,796
But the truth is we never
started from scratch.
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00:12:15,863 --> 00:12:20,530
All had worked making
films before. But we were also
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00:12:20,597 --> 00:12:25,531
interested in getting Brazilian
cinema in touch with its own reality.
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00:12:26,102 --> 00:12:32,230
To integrate Brazilian cinema
to its own cultural reality.
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00:12:32,498 --> 00:12:39,064
We came upon a
cinematographic void in Brazil.
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00:12:39,636 --> 00:12:43,464
When "chanchada"
started to decline.
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00:12:43,531 --> 00:12:45,500
Television started,
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00:12:46,114 --> 00:12:49,931
and those films weren't
profitable anymore.
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00:12:49,999 --> 00:12:54,954
It was already a main issue
for our movement, Cinema Novo,
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00:12:55,285 --> 00:12:58,270
a main issue for
to question society,
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00:12:58,320 --> 00:13:01,498
our bourgeoisie society.
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00:13:01,565 --> 00:13:04,980
It was the collective awareness
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00:13:05,030 --> 00:13:09,198
that human problems
weren't individual,
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00:13:09,265 --> 00:13:14,966
but a part of a specific
moment in history.
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00:13:15,033 --> 00:13:18,766
Awareness that Brazil
is a part of the third world.
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00:13:18,833 --> 00:13:22,133
This will of discovering
Brazil also led us
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00:13:22,200 --> 00:13:27,633
in some cases, in quite
an accomplished manner,
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00:13:27,700 --> 00:13:33,365
to discover a style, a storytelling
language that's quite Brazilian.
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00:13:33,867 --> 00:13:36,926
5X FAVELA
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00:13:46,069 --> 00:13:50,467
"Cat Skin" was born in an
argument at Joaquin Pedro's house.
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00:13:50,534 --> 00:13:56,334
We were a bunch of
people pitching scripts.
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00:13:56,401 --> 00:14:02,144
We pitched the scripts, discussed
them and decided what to do next.
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00:14:02,202 --> 00:14:07,501
So, together, we could get what
we needed. Support, even political.
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00:14:07,568 --> 00:14:10,401
Together, not dispersed
in different projects.
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00:14:10,468 --> 00:14:12,201
Let's do that one! "Cat Skin".
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00:14:12,268 --> 00:14:14,701
It was the foundation
for "5x Favela".
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00:14:14,768 --> 00:14:17,103
From there, the Center
for Popular Culture
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00:14:17,127 --> 00:14:20,101
sent a proposal
so Miguel Borges,
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00:14:20,168 --> 00:14:25,302
Marcos Faria, Caca Diegues and
me could do four more episodes
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00:14:25,369 --> 00:14:30,002
to put together
and make "5x Favela".
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00:14:46,803 --> 00:14:49,391
Our generation
completely understood that,
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00:14:49,442 --> 00:14:50,737
for being a big industry,
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00:14:50,804 --> 00:14:55,369
it was attached to the economic,
political and social problems in Brazil.
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00:14:55,670 --> 00:14:58,803
So, before developing a cinematographic
awareness, Brazilian filmmakers
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00:14:58,904 --> 00:15:00,837
developed political
awareness of the phenomenon
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00:15:00,904 --> 00:15:03,936
They found out that, to make cinema,
they had to make the revolution first.
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00:15:04,004 --> 00:15:07,370
That stance changed the
cultural landscape completely.
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00:15:07,437 --> 00:15:10,569
The role of the
filmmaker changed.
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00:15:16,805 --> 00:15:19,804
The birth of the cinema from Bahia
with "Redemption" by Roberto Pires,
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00:15:19,871 --> 00:15:22,970
my film, "The Backyard", "Bahia de
Todos os Santos" by Trigueirinho Neto,
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00:15:23,088 --> 00:15:24,088
"Barravento"...
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00:15:24,171 --> 00:15:32,804
- Sing it again, my love.
- Ai, ai, ai.
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00:15:57,672 --> 00:15:58,979
Cinema Novo has two origins:
115
00:15:58,981 --> 00:16:01,564
Bahia and the CPC
(Center for Popular Culture).
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00:16:01,607 --> 00:16:04,139
Caca Diegues, Leon Hirszman,
Miguel Borges, Amaldo Jabor
117
00:16:04,307 --> 00:16:08,572
and Joaquim wanted to make
cinema. A new cinema for Brazil.
118
00:16:08,673 --> 00:16:13,173
There was a manifesto in a section
of the newspaper "Jornal do Brazil"
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00:16:13,240 --> 00:16:18,572
with the neo-concretists: Ferreira
Gullar, Lygia Pape, Lygia Clark.
120
00:16:19,073 --> 00:16:23,939
And we made our own:
Manifesto Cinema Novo.
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00:16:25,008 --> 00:16:30,740
The name was "Cinema-cinema",
but it was nicknamed "Ball-ball".
122
00:16:46,109 --> 00:16:51,994
Those who made films in Brazil came
from completely diverse backgrounds.
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00:17:03,443 --> 00:17:06,109
We discussed cinema, talked
about cinema, vomited cinema.
124
00:17:06,176 --> 00:17:10,175
That was enough to make
the placenta that bonded us.
125
00:17:13,111 --> 00:17:14,532
That...
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00:17:15,602 --> 00:17:19,876
weird and simple phenomenon
127
00:17:20,344 --> 00:17:24,977
was the result of an
encounter between people
128
00:17:25,044 --> 00:17:27,043
who then became
very close friends.
129
00:17:33,344 --> 00:17:37,644
There's always some bar involved
when we talk about Cinema Novo.
130
00:17:44,178 --> 00:17:46,245
Cooperation was the key.
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00:17:46,312 --> 00:17:50,533
Mostly because we
liked each other's films,
132
00:17:51,161 --> 00:17:53,711
and not because we were
friends. We were friends because
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00:17:53,778 --> 00:17:56,444
we liked each other's films.
134
00:18:45,014 --> 00:18:49,379
We were not into those
heavy Hollywood machines.
135
00:18:49,514 --> 00:18:53,714
We didn't want to
shoot inside studios.
136
00:18:53,781 --> 00:18:58,314
We wanted to shoot exteriors,
the streets, that living thing.
137
00:19:10,581 --> 00:19:14,014
The was excitement because
of this new thing between
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00:19:14,648 --> 00:19:17,415
cinema, the camera and reality.
139
00:19:17,682 --> 00:19:22,249
The means to make
those films, those new
140
00:19:22,316 --> 00:19:27,833
to approach reality were
somehow already there.
141
00:19:28,682 --> 00:19:32,338
Shooting with natural light,
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00:19:32,388 --> 00:19:35,282
exteriors, on location,
143
00:19:35,349 --> 00:19:37,548
in the streets...
144
00:19:47,083 --> 00:19:51,250
He really let the
cameras out in the streets.
145
00:19:51,317 --> 00:19:55,550
He didn't want to
disguise Brazilian reality,
146
00:19:55,617 --> 00:20:02,958
or to portray it in a
distorted or lees faithful way.
147
00:20:05,951 --> 00:20:09,483
And he looked for themes,
a certain kind of people.
148
00:20:10,251 --> 00:20:12,717
He really threw the
cinema at the people.
149
00:20:12,784 --> 00:20:15,483
He turned the cameras
to people's problems,
150
00:20:16,284 --> 00:20:19,983
what we thought were
the people's problems.
151
00:20:27,384 --> 00:20:30,752
I believe cinema will
change a lot from now on.
152
00:20:30,819 --> 00:20:36,818
From the camera to the streets,
from the camera to problem.
153
00:20:36,885 --> 00:20:41,551
From the camera, from closed
doors, to have an open discussion.
154
00:21:04,220 --> 00:21:07,320
"A camera in hand,
an idea in the head",
155
00:21:07,401 --> 00:21:08,785
more than concept of language,
156
00:21:09,920 --> 00:21:11,585
was a production method.
157
00:21:51,288 --> 00:21:57,568
Our culture in Brazil, of not
having such a separation, so fierce,
158
00:21:58,288 --> 00:22:03,587
so radical between genres,
159
00:22:05,155 --> 00:22:08,622
imaginary or real,
160
00:22:09,689 --> 00:22:12,688
between sacred and profane.
161
00:22:28,589 --> 00:22:34,390
There was a very radical scission
between documentary and fiction
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00:22:34,457 --> 00:22:37,356
and we didn't stick to it.
163
00:24:24,994 --> 00:24:28,593
Because at that time, the aesthetics
of Cinema Novo were being created.
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00:24:28,661 --> 00:24:30,994
There wasn't a frame of
reference to talk about aesthetics,
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00:24:31,061 --> 00:24:33,094
and everything was Cinema Novo.
166
00:24:33,162 --> 00:24:36,170
It had much more to
do with generations
167
00:24:36,220 --> 00:24:39,228
than with the
articulation of an ideology,
168
00:24:39,295 --> 00:24:42,662
or anything like a
frame of reference.
169
00:24:42,729 --> 00:24:46,861
It was being invented
as it was created.
170
00:24:48,829 --> 00:24:51,963
In Arraial do Cabo,
away from civilization,
171
00:24:52,013 --> 00:24:54,412
fishermen live a primitive life.
172
00:24:54,662 --> 00:24:56,895
Under the laws they
created themselves.
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00:24:57,463 --> 00:24:58,996
Watch.
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00:24:59,063 --> 00:25:01,662
Nine fishermen
taking turns every day.
175
00:25:01,830 --> 00:25:05,495
In their constant and fierce
dialogue with the fish and the sea.
176
00:25:06,263 --> 00:25:08,762
Seven on board, all
ears to the watchman
177
00:25:09,230 --> 00:25:11,329
who, together with
the birds of prey,
178
00:25:11,396 --> 00:25:13,163
waits for the fish to appear.
179
00:25:13,230 --> 00:25:16,695
And the last one in the
beach, handling the fishnet.
180
00:25:21,197 --> 00:25:24,564
The light in the Arraial
is extremely intense.
181
00:25:24,631 --> 00:25:27,430
Because it's a reflector
made of sand, right?
182
00:25:27,497 --> 00:25:31,097
The ground is completely
white, it has more contrast than
183
00:25:31,164 --> 00:25:32,830
anything around its.
184
00:25:32,897 --> 00:25:36,464
Except for the sun,
maybe or if it's cloudy.
185
00:25:36,732 --> 00:25:41,465
But the sky is blue
most of the time.
186
00:25:41,532 --> 00:25:45,598
The sea is resplendent,
a fantastic blue.
187
00:25:45,966 --> 00:25:49,466
What's interesting in that film
has a lot to do with that look
188
00:25:49,533 --> 00:25:52,698
which came from engravings,
paintings, and so on,
189
00:25:53,166 --> 00:25:56,965
and took over the
cinematography of that film.
190
00:25:57,433 --> 00:26:00,299
I was ready to make engravings,
went on to make cinema
191
00:26:00,366 --> 00:26:04,432
and ended up making
an engraving on film.
192
00:27:14,169 --> 00:27:15,474
"Garrincha"...
193
00:27:15,525 --> 00:27:21,523
despite starting out as direct
cinema or direct documentary,
194
00:27:22,531 --> 00:27:26,870
because of problems
with the footage,
195
00:27:26,937 --> 00:27:32,636
ended up being a
montage of archival material.
196
00:27:34,337 --> 00:27:40,003
And I really enjoyed editing
that film, it was pyrotechnic.
197
00:27:40,070 --> 00:27:43,436
Many things in it I
didn't like, others I did
198
00:27:43,503 --> 00:27:45,920
From then on,
199
00:27:46,702 --> 00:27:52,104
I started reacting to that
and looking for purer values.
200
00:27:52,370 --> 00:27:53,952
Values which could...
201
00:27:54,577 --> 00:27:58,731
resist my harshest criticism.
202
00:27:59,684 --> 00:28:02,453
Which led me to
"The Priest and The Girl",
203
00:28:02,503 --> 00:28:05,271
which, as a film,
always got in my nerves,
204
00:28:05,338 --> 00:28:11,272
it had always irritated
and annoyed me.
205
00:28:11,339 --> 00:28:15,588
And that's the way
the film was made.
206
00:28:16,321 --> 00:28:18,938
It can be seen in its form.
207
00:28:19,005 --> 00:28:23,338
The film is very static, its
framing, is very constrained.
208
00:28:42,273 --> 00:28:45,239
They say priest's
women become wraiths.
209
00:28:46,040 --> 00:28:47,939
Headless mules.
210
00:28:57,440 --> 00:29:00,606
I don't know if it's the
devil or god inside my body.
211
00:29:18,441 --> 00:29:21,474
One line was cut short.
212
00:29:21,541 --> 00:29:24,008
See this little
line cut in half?
213
00:29:26,261 --> 00:29:31,208
A beautiful inclination, interrupted,
the priest. That's where you cut.
214
00:29:31,275 --> 00:29:32,841
And the music.
215
00:29:32,908 --> 00:29:37,707
We'll use the music
from the theater.
216
00:29:52,209 --> 00:29:53,708
Here, cut.
217
00:30:08,509 --> 00:30:13,794
We were editing "5x Favela"
and that amazing thing happened.
218
00:30:13,845 --> 00:30:15,741
Ruy Guerra was
editing my episode,
219
00:30:15,791 --> 00:30:18,676
and Nelson Pereira dos
Santos was editing Leon's.
220
00:30:18,744 --> 00:30:22,610
So, we would meet every
day and I watched Nelson,
221
00:30:22,677 --> 00:30:24,710
because there was
only one moviola,
222
00:30:25,398 --> 00:30:28,912
watched Nelson edit Leon's film,
223
00:30:28,962 --> 00:30:32,476
and Leon watched Ruy edit mine.
224
00:30:35,510 --> 00:30:39,144
At the time. Nelson was also
editing Glauber's "Barravento".
225
00:30:39,211 --> 00:30:44,977
Nelson edited "São Diogo's
Quarry", and "Absolute Majority",
226
00:30:45,045 --> 00:30:50,178
my first two films, both shorts.
227
00:30:50,245 --> 00:30:55,711
And that editing work, with
the moviola, the whole thing...
228
00:30:55,778 --> 00:31:00,611
We felt we were two filmmaker
staking over the moviola.
229
00:31:00,678 --> 00:31:04,479
We had taken it and were
discussing cinema in a new level.
230
00:31:04,546 --> 00:31:09,612
It wasn't just editing this or that
film, we were discussing cinema itself
231
00:31:09,679 --> 00:31:12,312
and everything that was going on.
232
00:31:12,379 --> 00:31:15,661
I don't mean you cant
do that with an editor but
233
00:31:15,712 --> 00:31:16,961
between filmmakers, you get to
234
00:31:17,012 --> 00:31:23,712
the creative field, the projects, other
films, maybe in a more fertile way.
235
00:31:23,779 --> 00:31:26,746
It was very positive
for me, and my work.
236
00:31:26,813 --> 00:31:30,579
After that, I went on to
make "The Deceased".
237
00:31:37,347 --> 00:31:42,612
THE DECEASED
238
00:32:43,216 --> 00:32:48,949
30's literature, regional
literature, Graciliano, Jorge Amado,
239
00:32:49,016 --> 00:32:51,749
José Lins do Rego,
Erico Veríssimo.
240
00:32:52,716 --> 00:32:55,782
Each of them tried to
express in their own way
241
00:32:56,250 --> 00:33:01,082
the rescue of the social and
popular reality in their regions,
242
00:33:02,116 --> 00:33:04,017
and also their
storytelling style.
243
00:33:04,084 --> 00:33:05,750
Cinema Novo followed that.
244
00:33:06,094 --> 00:33:09,068
I think he has his region,
245
00:33:09,118 --> 00:33:14,284
as a foundation for
his reality, his realism.
246
00:33:14,351 --> 00:33:20,017
But I think he transcends
that. For his own themes,
247
00:33:20,084 --> 00:33:23,150
he transcends the
regional aspect.
248
00:33:23,217 --> 00:33:27,284
It seems he's portraying Brazil
249
00:33:27,352 --> 00:33:30,484
and also the third world.
250
00:33:30,552 --> 00:33:32,751
- Where did you work?
- At the Santa Terezinha plant.
251
00:33:32,818 --> 00:33:38,718
- What did you do there?
- Sugarcane. Weeding cane fields.
252
00:33:38,785 --> 00:33:43,518
How much did you make there?
I worked from 5:30am to 7:00pm
253
00:33:43,585 --> 00:33:45,585
and made 700 cruzeiros.
254
00:33:45,652 --> 00:33:47,551
Everyone was making
the same amount?
255
00:33:47,618 --> 00:33:50,484
Yes. It's impossible
to get more, right?
256
00:33:51,518 --> 00:33:57,925
I'm a farmer and I need
to buy a kilo of flour, to eat.
257
00:33:58,919 --> 00:34:01,452
That's horrible, humiliating.
258
00:34:01,519 --> 00:34:06,519
We are all farmers here,
there's a world of land around us
259
00:34:06,586 --> 00:34:08,186
and I need to
buy a kilo of flour.
260
00:34:08,253 --> 00:34:11,483
Who buys a kilo of flour,
are people from the city
261
00:34:11,534 --> 00:34:14,026
because they're workers
who don't work the land.
262
00:34:14,077 --> 00:34:16,420
But what do we farmers do?
Those are the landowners.
263
00:34:16,487 --> 00:34:19,127
Who take the lands for themselves
and don't let us plant anything.
264
00:34:19,320 --> 00:34:22,753
Those who were being
exploited, oppressed and silenced
265
00:34:22,820 --> 00:34:25,120
needed space on the screens.
266
00:34:25,187 --> 00:34:28,953
But there was also a need to allow
every filmmaker their own expression
267
00:34:29,020 --> 00:34:31,687
as they evolved.
268
00:34:31,754 --> 00:34:34,220
Somehow, we were breaking
up with the movement.
269
00:34:34,287 --> 00:34:37,753
It wasn't a movement
as a stylistic unity,
270
00:34:37,820 --> 00:34:41,689
as was the case with certain
filmmakers from neorealism.
271
00:34:41,756 --> 00:34:46,089
Or even certain filmmakers from
the golden age of Soviet cinema.
272
00:34:46,156 --> 00:34:50,421
Filmmakers are close to each other in
terms of narrative and cinematography
273
00:34:50,789 --> 00:34:53,159
but you see a bigger difference.
274
00:34:54,189 --> 00:34:57,155
This is my city.
275
00:34:57,222 --> 00:35:02,288
My big city.
276
00:35:02,389 --> 00:35:06,476
People dreaming in the seaside.
277
00:35:06,489 --> 00:35:11,055
They are happy and singing.
278
00:35:11,890 --> 00:35:16,223
Making a carnival out of we.
279
00:35:16,290 --> 00:35:19,522
Singing we dove evil away.
280
00:35:21,457 --> 00:35:27,289
In this city of love.
281
00:35:35,124 --> 00:35:39,859
From radical Rosselinians,
like Paulo César Saraceni
282
00:35:40,124 --> 00:35:47,059
to Fordians, like Walter Lima Junior,
Eisensteinians, like Leon, obviously,
283
00:35:47,758 --> 00:35:49,790
the neorealists, like Nelson..
284
00:35:52,458 --> 00:35:56,824
It had the ambition, national
and international, of synthesizing.
285
00:35:57,425 --> 00:36:03,487
Italian neorealism, Russian
revolutionary cinema,
286
00:36:03,625 --> 00:36:06,258
the spectacle of
American cinema.
287
00:36:06,325 --> 00:36:11,691
The formal evolution of Nouvelle Vague
with the traditions of Brazilian cinema,
288
00:36:12,559 --> 00:36:14,324
which were few but existed,
289
00:36:18,726 --> 00:36:24,659
To reign in the island,
to reign in the island.
290
00:36:25,826 --> 00:36:30,125
- My wife is possessed by the devil!
- It's a lie it's a lie!
291
00:36:37,393 --> 00:36:41,325
Tomorrow it'll rain gold! The
desert will turn into the sea!
292
00:36:41,926 --> 00:36:44,526
Lies! Lies!
293
00:36:44,994 --> 00:36:48,926
The sea will turn into a desert!
294
00:36:49,561 --> 00:36:52,326
Lies! Lies!
295
00:37:02,861 --> 00:37:05,027
We can only get to the island
296
00:37:05,094 --> 00:37:08,894
if we wash the souls of the sinners
with the blood of the innocents!
297
00:37:16,895 --> 00:37:23,199
Glauber's role was never letting
us think we had won the war.
298
00:37:23,895 --> 00:37:28,461
Never letting us think that
things ever got to an end.
299
00:37:29,295 --> 00:37:31,596
Things were always
critical, always changing.
300
00:37:31,663 --> 00:37:36,596
When you achieve victory,
you must start all over again.
301
00:37:36,663 --> 00:37:38,762
You can't just sleep
on your laurels.
302
00:38:05,830 --> 00:38:09,296
We didn't just like each other,
we were growing into each other
303
00:38:09,797 --> 00:38:15,096
more and more finding
things in common.
304
00:42:29,675 --> 00:42:30,675
Let's go.
305
00:42:38,341 --> 00:42:40,707
Come on, damn you!
306
00:42:46,841 --> 00:42:48,008
Get up.
307
00:42:58,776 --> 00:43:01,308
Come on it's over there!
308
00:43:14,677 --> 00:43:17,176
There're soldiers around.
309
00:43:17,243 --> 00:43:20,809
I was waiting for a sign!
I dreamed of the end!
310
00:43:20,877 --> 00:43:23,609
Today, we die!
311
00:43:33,143 --> 00:43:37,310
Die, how? Are you nuts?!
312
00:43:37,644 --> 00:43:39,777
When you dreamed
of it it was over!
313
00:43:39,844 --> 00:43:42,347
I saw the devil's
rifles shoot twice!
314
00:43:42,445 --> 00:43:43,511
One for each eye!
315
00:43:44,212 --> 00:43:46,312
Yours Virgulino!
316
00:43:57,671 --> 00:43:59,698
Cast your jinx aside.
317
00:44:02,098 --> 00:44:04,515
Who'll ever shoot my eye?
318
00:44:07,007 --> 00:44:09,312
I'm protected by Priest Cicero.
319
00:44:11,280 --> 00:44:14,446
But it was a sign, a sign!
320
00:44:14,963 --> 00:44:17,712
It will be at the crack of dawn.
321
00:44:23,546 --> 00:44:28,986
Here in my burrow,
only if it's you.
322
00:44:30,347 --> 00:44:32,546
If you betray me, I'll kill you.
323
00:44:55,015 --> 00:44:56,214
No!
324
00:45:02,015 --> 00:45:04,381
Leave him!
325
00:45:08,848 --> 00:45:14,782
Enough! Enough! Enough!
326
00:45:30,183 --> 00:45:33,016
Brazil is a seaside civilization.
327
00:45:33,352 --> 00:45:40,383
It grew along 7000 km
of coastline.
328
00:45:41,328 --> 00:45:46,183
Nevertheless, they
are all men of the inland.
329
00:45:46,250 --> 00:45:50,450
Because Brazil's biggest
problem is immigration.
330
00:45:50,517 --> 00:45:55,283
We are all men
who long for the land.
331
00:45:55,350 --> 00:46:00,283
And when we have the
means to talk about something,
332
00:46:00,350 --> 00:46:02,851
through journalism or cinema.
333
00:46:03,109 --> 00:46:09,320
We are always
drawn to that longing
334
00:46:10,421 --> 00:46:16,915
and to the struggle in the
isolated inland of Brazil.
335
00:46:18,351 --> 00:46:22,187
As we say in Brazil, orphans.
336
00:46:22,237 --> 00:46:26,630
People with no mother or father.
337
00:46:28,666 --> 00:46:34,118
They are real orphans for
they live in complete dereliction.
338
00:47:01,320 --> 00:47:06,736
I believe any filmmaker who
wishes to say anything that matters,
339
00:47:06,987 --> 00:47:08,853
or whatever matters to him,
340
00:47:08,920 --> 00:47:11,043
must translate it...
341
00:47:11,093 --> 00:47:15,687
to the oscillating balance
of the modern world.
342
00:47:15,754 --> 00:47:24,883
In my films, I try to talk about
reality in all its complexity
343
00:47:25,021 --> 00:47:26,653
which is really hard.
344
00:47:26,754 --> 00:47:31,804
But I also want to show
what affects men, individuals.
345
00:47:32,121 --> 00:47:35,987
I'd like to make an epic film.
346
00:47:36,588 --> 00:47:39,121
But I don't think
I'll be able to.
347
00:47:39,599 --> 00:47:45,422
I don't think I can show a
character without showing
348
00:47:45,489 --> 00:47:49,388
all its ties to the
structure, of the country.
349
00:47:49,455 --> 00:47:54,855
Believe there's something
in common in all our films
350
00:47:55,539 --> 00:47:59,147
I think it's the awareness of...
351
00:48:01,449 --> 00:48:03,955
a specific kind of
underdevelopment.
352
00:48:04,361 --> 00:48:07,323
All characters in
our films are real.
353
00:48:07,759 --> 00:48:12,413
They are people who
existed until the forties,
354
00:48:12,959 --> 00:48:16,589
when I was in the northeast
of Brazil as a reporter.
355
00:48:16,656 --> 00:48:20,323
First, I talked to people who
had met these characters.
356
00:48:20,390 --> 00:48:25,156
And even characters like
Antonio Das Mortes, the hitman
357
00:48:25,223 --> 00:48:30,023
in the film, once existed
and killed 40 brigands.
358
00:48:32,324 --> 00:48:35,456
And also Corisco, who's still
alive and gave me an interview.
359
00:48:35,957 --> 00:48:37,990
He also told me some stories.
360
00:48:38,457 --> 00:48:43,902
Then I talked to his wife,
who also told me some stories.
361
00:48:44,357 --> 00:48:47,357
Read several books,
mostly popular poetry.
362
00:48:47,757 --> 00:48:53,985
There are many books in Brazil,
popular songs about these characters.
363
00:49:06,192 --> 00:49:10,558
Someday, there will be
a major war in this desert.
364
00:49:10,625 --> 00:49:14,867
A big war, God and
the Devil will be looking.
365
00:49:15,844 --> 00:49:17,731
To get this war started,
366
00:49:18,398 --> 00:49:21,193
I, who have killed
Sebastião, will kill Corisco.
367
00:49:23,380 --> 00:49:25,504
And then die, once and for all.
368
00:49:26,607 --> 00:49:28,769
We are all the same thing.
369
00:49:39,371 --> 00:49:43,359
In '64, we had three films in
Cannes. Two in the competition.
370
00:49:43,594 --> 00:49:45,360
"God and the Devil"
and "Barren Lives".
371
00:49:45,427 --> 00:49:48,493
And one in the "Critic's Week",
my film "Ganga Zumba".
372
00:49:48,560 --> 00:49:53,793
In that same year, "Porto das Caixas"
had won an award in the north of Italy
373
00:49:53,860 --> 00:49:57,327
Ruy Guerra had "The Rifles"
and had won an award in Berlin.
374
00:49:57,394 --> 00:50:02,793
That was the year when
Cinema Novo made its name.
375
00:50:10,382 --> 00:50:13,806
Cinema Novo was
discovered by European critics,
376
00:50:14,048 --> 00:50:18,361
Italian and French, mostly.
377
00:50:18,705 --> 00:50:25,413
And we started to hobnob with the
guys from Cahiers du Cinema in France.
378
00:50:25,595 --> 00:50:28,038
Carlos Diegues,
379
00:50:28,428 --> 00:50:32,495
Glauber Rocha, Roberto Faria,
380
00:50:33,250 --> 00:50:34,967
Paulo Cesar Saraceni,
381
00:50:37,175 --> 00:50:39,259
Joaquim Pedro de Andrade,
382
00:50:39,778 --> 00:50:43,320
Leon Hirszman, Geraldo Sarno,
383
00:50:44,687 --> 00:50:46,161
Eduardo Coutinho,
384
00:50:46,500 --> 00:50:50,195
Walter Hugo Khouri, Ruy Guerra,
385
00:50:50,262 --> 00:50:54,796
Alex Vianny, who
also made films,
386
00:50:55,365 --> 00:50:59,263
Vinicius de Moraes who
collaborated in some films.
387
00:50:59,662 --> 00:51:03,796
Future Brazilian filmmaker
and critic, Gustavo Dahl,
388
00:51:04,162 --> 00:51:05,572
Edgar Morin,
389
00:51:08,237 --> 00:51:10,396
Jean Rouch,
390
00:51:13,446 --> 00:51:16,172
I forgot Margot Benacerraf,
391
00:51:16,755 --> 00:51:18,802
from Venezuela.
392
00:51:19,431 --> 00:51:22,283
Claude Antoine, defender
of Brazilian cinema,
393
00:51:22,710 --> 00:51:24,063
Marco Belocchio...
394
00:51:28,164 --> 00:51:33,928
Cinema Novo went international
in '62 at the Third World Seminary
395
00:51:34,531 --> 00:51:38,330
organized by Columbianum,
a Jesuitical agency in Genoa,
396
00:51:38,831 --> 00:51:41,664
which gathered all
cinema from Latin America.
397
00:51:41,731 --> 00:51:45,598
There was a retrospective
in Santa Margherita Liguri.
398
00:51:46,250 --> 00:51:49,339
They showed "The Big Fair",
"The Promise".
399
00:51:49,432 --> 00:51:53,099
'62 was the year
of the Palme d'or
400
00:51:53,165 --> 00:51:56,532
and Cinema Novo was beginning,
"Cat Skin" won Oberhausen...
401
00:51:56,599 --> 00:51:59,898
Cinema Novo usually took
the European style aback.
402
00:52:00,299 --> 00:52:02,531
Wealthy well-behaved.
403
00:52:03,021 --> 00:52:06,834
That combination
of freedom and...
404
00:52:07,295 --> 00:52:09,799
Brazil already gave
those films a strength
405
00:52:10,658 --> 00:52:16,432
that made them
known first abroad,
406
00:52:17,204 --> 00:52:19,360
in international festivals.
407
00:52:19,860 --> 00:52:23,196
And then, in an always
colonized dynamic,
408
00:52:24,152 --> 00:52:27,865
the recognition had
an internal impact.
409
00:52:28,000 --> 00:52:31,203
I was in Italy when
I got the invitation
410
00:52:31,694 --> 00:52:34,134
to invite as
assistant director...
411
00:52:34,201 --> 00:52:37,720
Lucchino Visconti in the
shooting of "Murdered House".
412
00:52:39,169 --> 00:52:43,667
I answered with a letter,
saying I'd invite no Visconti,
413
00:52:43,734 --> 00:52:46,354
and I would direct
"Murdered House".
414
00:52:47,403 --> 00:52:49,957
When I got here, it was a mess.
415
00:52:50,598 --> 00:52:52,711
Jânio Quadros had resigned.
416
00:52:55,055 --> 00:52:58,924
The producers had a misunderstanding
and the film wasn't made.
417
00:52:59,275 --> 00:53:03,369
So, Lucio Cardozo and me went
around the state of Rio de Janeiro
418
00:53:03,436 --> 00:53:06,702
looking for locations to
make "Murdered House"
419
00:53:06,769 --> 00:53:10,368
and found this place
called "Porto das Caixas".
420
00:53:15,569 --> 00:53:18,402
Why didn't you
come by yesterday?
421
00:53:37,937 --> 00:53:40,303
You should have
seen me yesterday.
422
00:53:43,533 --> 00:53:45,437
I thought I'd go insane.
423
00:53:48,805 --> 00:53:50,537
Listen...
424
00:53:55,505 --> 00:53:58,404
I waited all night long.
425
00:54:07,938 --> 00:54:11,905
Joaquim, how's your
relationship with the critics?
426
00:54:11,972 --> 00:54:15,739
With some of the
critics, very well, I believe.
427
00:54:15,806 --> 00:54:17,448
I've...
428
00:54:18,588 --> 00:54:22,472
never resented criticism
or anything like that.
429
00:54:23,863 --> 00:54:27,272
And I think
Brazilian film critics,
430
00:54:27,322 --> 00:54:30,339
from newspapers and magazines,
431
00:54:30,878 --> 00:54:35,508
is really very small, if we
think of how it could be.
432
00:54:36,273 --> 00:54:40,284
It could play a more important
role, it could be more complex.
433
00:54:41,201 --> 00:54:44,764
That need for stardom, to
make an easy impression,
434
00:54:46,037 --> 00:54:48,792
sometimes creates
a kind of critic...
435
00:54:49,580 --> 00:54:52,143
better suited for
weekly magazines.
436
00:54:53,495 --> 00:54:59,341
As for newspapers, I'm not reading
newspapers from São Paulo much.
437
00:55:00,977 --> 00:55:04,407
The ones from Rio are quite
sclerotic when it comes to film critic.
438
00:55:23,775 --> 00:55:26,708
Which are really the big
problems with Cinema Novo?
439
00:55:27,028 --> 00:55:32,608
Now for you in aesthetic
economic, political terms.
440
00:55:32,675 --> 00:55:37,074
The big current aesthetic problem
for Cinema Novo is economical.
441
00:55:38,442 --> 00:55:43,204
I think our big aesthetic problem, the
grave aesthetic risk for Cinema Novo
442
00:55:44,825 --> 00:55:48,923
is to be taken over
by foreign companies.
443
00:55:51,743 --> 00:55:55,542
In Brazil, it's possible to revitalize
a new and influential artistic theory.
444
00:55:55,610 --> 00:56:00,443
I'm not trying to be a prophet...
I've always studied the case rationally
445
00:56:00,510 --> 00:56:03,643
and tried to see with an open
mind the elements for the process
446
00:56:03,710 --> 00:56:05,109
of creating a new cinema.
447
00:56:05,176 --> 00:56:09,143
One thing is to win the audience,
like Joaquim did with "Macunaíma",
448
00:56:09,210 --> 00:56:11,177
to exploit the audience
is a different thing.
449
00:56:11,244 --> 00:56:14,076
Filmmakers want the
adventure of conquest.
450
00:56:18,344 --> 00:56:20,643
Come! Come! Come!
451
00:56:20,944 --> 00:56:25,343
If you're thinking of escaping,
I'll never eat anyone anymore!
452
00:56:54,112 --> 00:56:56,945
Nelson Pereira dos Santos,
Glauber Rocha,
453
00:56:57,012 --> 00:56:59,311
Carlos Diegues, Joaquim Pedro,
454
00:56:59,378 --> 00:57:01,479
Leon Hirszman, Roberto Santos,
455
00:57:01,546 --> 00:57:05,212
Roberto Farias, Júlio Bressane,
456
00:57:05,279 --> 00:57:07,946
Gustavo Dahl, Walter Lima,
457
00:57:08,013 --> 00:57:09,745
Maurice Capovila.
458
00:57:25,080 --> 00:57:28,979
Carlos Diegues, in Cinelândia,
visits the theaters where
459
00:57:29,147 --> 00:57:31,547
"The Big City" premieres.
460
00:57:32,314 --> 00:57:37,646
With him is producer Zellito
Viana, producer extraordinaire.
461
00:57:41,514 --> 00:57:43,960
A group of directors
got together
462
00:57:44,522 --> 00:57:48,310
around a company to
distribute their own films.
463
00:57:48,678 --> 00:57:50,947
That year, 80%
of Brazilian films
464
00:57:51,845 --> 00:57:55,683
shown in the country
were distributed by DiFilm.
465
00:57:57,915 --> 00:58:00,947
Everybody wanted their
films distributed by DiFilms
466
00:58:01,148 --> 00:58:02,480
because we fought for the films.
467
00:58:02,815 --> 00:58:06,414
We didn't fight for the
company, we fought for the films.
468
00:58:07,225 --> 00:58:13,149
DiFilm came out of
the need of a group
469
00:58:13,549 --> 00:58:18,682
which makes films with shared...
political and cultural views
470
00:58:18,749 --> 00:58:24,182
to organize themselves
and better place those films
471
00:58:24,249 --> 00:58:26,581
in the Brazilian
exhibition market.
472
00:58:26,890 --> 00:58:28,182
Our films,
473
00:58:28,472 --> 00:58:34,601
are usually restricted
to small venues,
474
00:58:35,476 --> 00:58:39,833
are released in
mainstream theaters.
475
00:58:40,349 --> 00:58:42,646
And, despite all our work,
476
00:58:43,349 --> 00:58:51,350
that still represents only a 70% of
their potential presence in the market.
477
00:58:51,417 --> 00:58:56,350
Brazilian productions must
find their markets spontaneously
478
00:58:56,417 --> 00:59:02,384
and not become
some kind of beggar.
479
00:59:02,451 --> 00:59:05,237
We need to put an end to
this unbelievable situation,
480
00:59:05,288 --> 00:59:07,105
that's been going
on for 70 years,
481
00:59:07,198 --> 00:59:10,951
where Brazilian cinema is
marginalized in its own territory.
482
00:59:11,018 --> 00:59:13,917
What do you think
of national cinema?
483
00:59:14,425 --> 00:59:18,383
National cinema, despite its
best efforts, is still kind of weak.
484
00:59:21,282 --> 00:59:24,984
National cinema is cool,
great, I love it, you dig?
485
00:59:25,051 --> 00:59:28,218
It's better than American cinema.
486
00:59:31,985 --> 00:59:33,652
What do you think
about National cinema?
487
00:59:33,719 --> 00:59:35,552
I don't like it.
488
00:59:35,619 --> 00:59:39,518
- And you?
- I like it, yes.
489
00:59:40,088 --> 00:59:43,418
I think it's cool.
The actors, most of all.
490
00:59:43,885 --> 00:59:47,147
If we don't solve the problem of
exhibition, nothing will be solved.
491
00:59:47,198 --> 00:59:50,452
We need to free up the venues.
492
00:59:50,520 --> 00:59:53,086
Every state should
have free venues
493
00:59:53,153 --> 00:59:57,044
to exhibit different things
494
00:59:57,095 --> 00:59:58,727
when we produce them
495
00:59:58,778 --> 01:00:01,053
and not imitations, for example,
496
01:00:01,425 --> 01:00:06,313
or these films that think
they follow the popular taste.
497
01:00:06,786 --> 01:00:09,353
The infrastructure of Brazilian
TV was set up by the state,
498
01:00:09,420 --> 01:00:11,519
investing millions of dollars.
499
01:00:11,816 --> 01:00:13,852
Cinema never had
any infrastructure,
500
01:00:14,121 --> 01:00:18,120
They only invest in the superstructure,
which creates dependency, paternalism.
501
01:00:18,187 --> 01:00:20,286
We must solve
that infrastructurally.
502
01:00:22,454 --> 01:00:24,853
Run brother, run!
503
01:00:48,522 --> 01:00:52,221
Cinema Novo lives a
fundamental contradiction.
504
01:00:52,288 --> 01:00:55,788
None of us can sleep well
until we solve that problem.
505
01:00:55,855 --> 01:01:01,455
Our cinema is popular for
its disposition, its appetites
506
01:01:01,522 --> 01:01:05,222
But, actually, the people
don't go see our films.
507
01:01:05,489 --> 01:01:07,441
We need to continue the fight
508
01:01:07,527 --> 01:01:09,656
to penetrate the
consciousness of the people,
509
01:01:09,723 --> 01:01:14,122
to show the audience
what we want to say
510
01:01:14,189 --> 01:01:16,489
and seduce them at the same
time. That's a contradiction.
511
01:01:16,556 --> 01:01:20,655
Truth is we are up against
the majority of Brazilian people.
512
01:01:22,023 --> 01:01:24,588
A new cinema, facing the people.
513
01:01:24,689 --> 01:01:28,723
This contact, still aggressive,
is sought through films which
514
01:01:28,790 --> 01:01:31,556
try to unveil Brazilian reality.
515
01:01:31,984 --> 01:01:35,756
To face an audience that has been
formed by mainstream cinema for years.
516
01:01:36,664 --> 01:01:41,423
Sign of its time, this young Brazilian
cinema is necessarily controversial.
517
01:01:42,657 --> 01:01:44,356
The fight has just begun.
518
01:01:44,840 --> 01:01:47,590
In a country like ours,
everything is yet to be done.
519
01:01:48,039 --> 01:01:51,604
Your film "Antonio Das
Mortes", is extremely violent.
520
01:01:51,830 --> 01:01:56,425
It reaches paroxysm in the
depiction of physical violence
521
01:01:57,159 --> 01:02:00,959
and French audiences
have reacted accordingly.
522
01:02:01,616 --> 01:02:05,045
Some are talking about
gratuitous provocation,
523
01:02:05,096 --> 01:02:08,259
others say it's a concession to
the spectators' lowest instincts,
524
01:02:08,326 --> 01:02:09,925
How do you explain it?
525
01:02:10,405 --> 01:02:15,091
You know Latin America
is a violent continent, bloody.
526
01:02:15,881 --> 01:02:21,963
Even when such tradition
is generally hidden.
527
01:02:22,659 --> 01:02:24,823
I faced that problem,
528
01:02:24,874 --> 01:02:30,921
because I couldn't hide
that violence, that character,
529
01:02:31,507 --> 01:02:33,426
that behavior people have.
530
01:02:33,493 --> 01:02:35,604
If I had cut those
scenes of violence,
531
01:02:36,010 --> 01:02:39,392
I'd become a censor myself.
532
01:02:39,893 --> 01:02:44,861
We read on the newspapers, every
day, that people kill with 40 shots,
533
01:02:44,928 --> 01:02:48,327
50, 45 stabs.
534
01:02:48,394 --> 01:02:52,127
That's the truth, not poetry
or a symbol, the truth.
535
01:02:55,316 --> 01:02:59,391
I'm not promoting
blood for the blood itself.
536
01:06:24,037 --> 01:06:27,070
There wasn't a border
between public and private.
537
01:06:27,137 --> 01:06:29,670
Public and private lire were
all one and the same thing.
538
01:06:29,737 --> 01:06:32,736
The loved woman and
revolution were the same thing,
539
01:06:32,837 --> 01:06:35,702
country and cinema
were the same thing.
540
01:07:37,158 --> 01:07:40,757
Hollywood films are as terrible
541
01:07:40,807 --> 01:07:44,405
as films that have
to be political,
542
01:07:44,540 --> 01:07:46,661
that have to be dogmatic,
that have to be anything.
543
01:07:47,161 --> 01:07:48,673
Freedom is lost.
544
01:07:48,740 --> 01:07:53,139
If we lose freedom and democracy
we can't make any poetry.
545
01:07:53,206 --> 01:07:55,573
It's impossible to
make a political film.
546
01:07:55,640 --> 01:08:00,640
I want political films that
are also the best poetry.
547
01:08:45,308 --> 01:08:48,737
The coup of '64 was
led by Castelo Branco,
548
01:08:49,971 --> 01:08:52,042
together with the
Brazilian oligarchy.
549
01:08:52,276 --> 01:08:55,290
Brazilian bourgeoisie,
afraid of communism,
550
01:08:55,807 --> 01:08:58,692
didn't want to install
a military dictatorship.
551
01:08:58,758 --> 01:09:02,760
In other words, a Brazilian
bourgeoisie, allied to imperialism,
552
01:09:02,984 --> 01:09:06,859
and how these military
sectors, liberal fascists,
553
01:09:06,976 --> 01:09:11,009
wanted to get rid of Goulart and
establish a fascist liberal regime,
554
01:09:12,677 --> 01:09:15,519
They didn't want the country to
be seen as a military dictatorship.
555
01:09:48,685 --> 01:09:52,311
Goulart didn't fear a coup d'etat
because he believed there was
556
01:09:52,378 --> 01:09:56,174
a very strong popular organization,
capable of resisting the coup.
557
01:09:56,767 --> 01:10:01,179
But that popular organization
was only superficial.
558
01:10:01,246 --> 01:10:06,845
When small leftist factions of
the army tried to arm the people,
559
01:10:06,912 --> 01:10:09,179
there were no guns and the
people was already dispersed.
560
01:10:09,246 --> 01:10:12,679
They tried to call
for a general strike
561
01:10:12,746 --> 01:10:17,711
but they found that the communist
units were completely ineffective
562
01:10:17,778 --> 01:10:19,945
when they needed to
deal with the people.
563
01:10:31,352 --> 01:10:33,093
Developmentalism,
564
01:10:34,554 --> 01:10:38,180
ultimate hope for
the Brazilian people,
565
01:10:39,679 --> 01:10:44,612
of the most progressive force
and also ours, young people.
566
01:11:08,929 --> 01:11:14,249
After hearing the members of the
National Security Council have decided
567
01:11:16,085 --> 01:11:20,074
to sign the institutional act
568
01:11:20,124 --> 01:11:24,783
in order to preserve
the revolution
569
01:11:24,850 --> 01:11:29,207
of March 1964.
So, we are able to...
570
01:11:35,713 --> 01:11:39,855
Walking through this
atmosphere of anxiety
571
01:11:39,905 --> 01:11:43,650
which generates
distrust, discomfort,
572
01:11:43,751 --> 01:11:49,650
and tries to harm
the regime we defend,
573
01:11:49,717 --> 01:11:53,750
we need to sign
this institutional act.
574
01:12:25,519 --> 01:12:26,881
President Costa e Silva,
575
01:12:26,931 --> 01:12:29,852
solemnly sworn under the
terms of the constitution,
576
01:12:29,919 --> 01:12:33,519
promising to respect it, to
promote the well-being of Brazil
577
01:12:33,586 --> 01:12:36,252
and to defend its
integrity and sovereignty.
578
01:13:05,120 --> 01:13:10,019
"Eight squad members dead
in the night of the big massacre."
579
01:13:40,156 --> 01:13:44,488
You can't be divided like that.
580
01:13:45,722 --> 01:13:51,355
Poetry and politics are
too much for only one man.
581
01:13:52,456 --> 01:13:56,188
I'd love it if you
could stay with us.
582
01:13:57,089 --> 01:13:59,755
Write again.
583
01:14:00,756 --> 01:14:04,390
I don't herald songs of peace
584
01:14:04,457 --> 01:14:08,456
and the flowers of
style don't interest me.
585
01:14:09,623 --> 01:14:13,656
I eat a thousand
bitter news every day.
586
01:14:14,357 --> 01:14:18,156
They define the world I live in.
587
01:14:27,085 --> 01:14:29,320
Dawns don't cause me...
588
01:14:30,796 --> 01:14:33,025
the same pain they
did in my adolescence.
589
01:14:34,666 --> 01:14:37,358
Peacefully, I give
back to the landscape,
590
01:14:38,382 --> 01:14:40,726
the vomits of experience.
591
01:15:37,126 --> 01:15:39,825
The victory of the
regime was to separate us.
592
01:15:39,893 --> 01:15:44,094
To set us apart and to turn the
Brazilian cinematographic experience
593
01:15:44,161 --> 01:15:47,193
into an individual experience.
594
01:16:37,463 --> 01:16:39,204
It's all in here.
595
01:16:40,181 --> 01:16:44,021
Arms, faces...
596
01:16:44,181 --> 01:16:46,596
Guts, all alive.
597
01:16:47,361 --> 01:16:51,668
Moving and walking
like things, like people.
598
01:16:52,629 --> 01:16:55,829
I'll bring forth
poisons and leprosies.
599
01:16:56,880 --> 01:17:02,396
Speeches that eat
away rust bone and wood.
600
01:17:02,564 --> 01:17:06,929
I'll bring to in machetes,
hot lead and gunpowder.
601
01:17:09,044 --> 01:17:11,763
I'll bring forth a mussurana,
long like the river.
602
01:17:13,279 --> 01:17:15,629
And spill out blood,
603
01:17:16,052 --> 01:17:20,630
more blood and still
blood, and always blood.
604
01:17:20,731 --> 01:17:25,530
And blood that never stops
being blood, until all is blood
605
01:17:25,631 --> 01:17:26,697
and blood is all!
606
01:17:28,528 --> 01:17:32,149
Until the slumber of the sun,
until the slumber of the moon.
607
01:17:33,407 --> 01:17:37,446
Until the slumber of green,
until the slumber of men.
608
01:17:38,398 --> 01:17:41,965
Until the slumber of time.
609
01:17:43,192 --> 01:17:45,129
I'll give birth!
610
01:17:45,180 --> 01:17:51,193
I'll give birth until
it's all a rotten mass!
611
01:17:53,073 --> 01:17:58,832
Until it's all poison. Until
everything kills everything.
612
01:18:01,035 --> 01:18:03,994
Until the rotten
stinks its own stink.
613
01:18:05,304 --> 01:18:07,183
Until I kill life...
614
01:18:07,850 --> 01:18:13,133
And this world doesn't have
more room or time even for death.
615
01:18:13,708 --> 01:18:16,847
No smell, no death.
616
01:20:07,338 --> 01:20:10,565
I don't think you can talk about
culture without talking about politics.
617
01:20:10,616 --> 01:20:13,805
And you can't talk about politics
and not talk about individual liberties.
618
01:20:14,539 --> 01:20:17,739
To talk about the atmosphere
where culture is created.
619
01:20:18,247 --> 01:20:25,939
Is more important than discussing
the economy or censorship.
620
01:20:26,480 --> 01:20:29,175
It's about everyday life, right?
621
01:20:29,800 --> 01:20:38,373
Culture in the sense of social
relationships and human creativity
622
01:20:38,440 --> 01:20:41,151
in a certain country, in
a certain moment in time.
623
01:20:41,184 --> 01:20:47,356
If a filmmaker keeps talking
about his bad economic situation,
624
01:20:48,166 --> 01:20:53,307
he's forgetting a basic aspect
of it all, which is participation.
625
01:20:53,374 --> 01:20:59,341
Everyone's need to participate in the
general process of Brazilian society.
626
01:20:59,408 --> 01:21:02,574
And there can only be
participation when there's no fear.
627
01:22:31,744 --> 01:22:36,111
I think that, 4 years from
now, people will understand
628
01:22:36,179 --> 01:22:39,278
they must see our films.
629
01:22:39,747 --> 01:22:45,478
I think they'll be convinced
that this cinema is necessary
630
01:22:45,939 --> 01:22:54,031
for them to witness their own
lives, the current history of Brazil.
631
01:22:57,945 --> 01:23:01,279
Your fight is only
getting started, then?
632
01:23:01,346 --> 01:23:03,717
We are willing to continue.
633
01:23:04,190 --> 01:23:08,445
We'll continue, at
any cost, we'll go on.
634
01:23:12,013 --> 01:23:27,846
There's no fortune
without blood!
635
01:24:00,415 --> 01:24:04,747
The power of the
people is stronger!
636
01:24:16,383 --> 01:24:18,616
The Cinema Novo
movement doesn't exist.
637
01:24:18,643 --> 01:24:20,649
But the idea of
Cinema Novo does.
638
01:24:20,782 --> 01:24:23,500
The idea is eternal,
new is eternal.
639
01:24:23,550 --> 01:24:26,683
That idea will live on.
50082
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