All language subtitles for glauberillo

LEONr JOAOUIM, DAVIDr WE MISS YOU

TO ARNALDO CARRILHO
AND CARLOS DIEGUES

WHO MADE THIS FILM POSSIBLE

GIauber the Movier Labyrinth of BraziI

I've dedicated 20 years of my
IIfe to Brazilian cinema.

I'm one of Embrafilme's main artists.

I've made some Brazilian films
that were internationally acclaimed.

I find myself marginalized in BraziI

and I don't see a future
for Brazilian cinema.

Silencer please. Letrs gol Soundl

THE ROLE OF THE ARTIST IS TO VIOLATE.

GLAUBER ROCHA
REVOLUTIONIZED THE CINEMA.

HIS FILMS PROMOTED A RADICAL REVISION
OF BRAZILIAN CULTURAL CONCEPTS

AND INFLUENCED OTHER CINEMAS.

HE LIVED IN A TIME
OF DREAMS OF GREATNESS AND HOPE.

THE WORLD WAS A LIBERTARIAN PARTV

AND REVOLUTION WOULD
COME FROM THE UNION

OF ART WITH POLITICSr
OF REALITY WITH UTOPIAr

OF REALITY WITH DERANGEMENT.

HE MADE 15 FILMSr AND WROTE ESSAYSr
NOVELS AND PLAYS.

HE BELIEVED THE ROAD
TO HAPPINESS WAS

REVOLUTIONARY LIVING
AND HE LIVED HIS DREAM

VIVIDLY AND TRAGICALLY.

HIS LIFE WAS CONSUMED IN THIS FIREr
IN A LARGE CREATIVE EXPLOSION.

I think it's the grass thatrs killing me.

My body is falllng apart
IIke Picasso's "Guernica."

I have 14,000 white
blood cells In my bloodr

and that's a Iotr

because with 9r000 white blood cells
you can die of a heart condition.

With 7,000 too.

A normal white blood cell count is 4r000.

I have 14,000.

Would it bother you to die now?

It's a complicated question.

I'm not the type of man
who is afrald of dyingr

because I had a great life.

I'm 42 years oldr
and I've Iived my IIfe fully,

because I traveled the whole worldr

I Ioved the women I wanted to Iover

I made the films I wanted to maker so...

Che Guevara died at the
age of 38r and I'm 42.

It's a lot for Latin Americans.

Sintra is a beautiful place to die.

He got there and said, "That's great!"

Jorge Amado is here in Portugalr
he's IIke our father.

We two are brothers and we're herer

your son is born,
and I'm about to dier shit!

When he got there, he had pericarditis.

He said he had had perlcarditis.

But in factr he had a
Iarge wound in his Iung.

Jorge Amado was one of
the first to visit Glauber,

and he was really happy
with all those friends visiting him.

Ne said, "Doctor, this is
like a great production. r'

And Don't remember that after that day,
he decided to go to Lishon.

Ne tells Dr. Carlos Serra:

"Ooctor, the great production must go on."

There is a mystery in this whole story.

GIauber always said
he would die at age 42.

He had said that long before:
"You know I'm going to dle at age 42,

for I'm the relncarnation
of Castro AIves who died

at 24r and I'm going to die at 42."

He used to talk about this subtle relation
with Castro AIvesr

and there is something there.

The last time I saw him
his face was messed up.

I was in the hospital hallway,
and he saidr "Hellor Ubaldo!"

Trying to smller and I said, "Hi."
But my eyes were full of tearsr

so I didn't pay attention to him.

I remember that when the airplane flew by,

I tried to guess whlch one he was on.

I remember thatr
and unfortunately I was wrong,

and I saidr "Now GIauber is safe."

I thought that he would be safe in Brazil.

When he wanted to please us,
GIauber had the habit

of calling us "Master"'
just like in Bahia.

When he wanted to please a friend,
he would call him "Master."

Luis Carlos Barreto and I got into
the room where he was unconsciousr

and, suddenlyr he recovered.

Actually, we got in
because the doctor said

he was doing better
and would recognize us.

So he looked at me and said,

"What's upr Master? EIegant as usual."

That was a Iier I have never been elegant.

That was the last thing I heard him say.

"We have to move on."
That's the last thing he said to me.

Oh, sunny morning

Anhangá ran away

Anhangá hey hey

Ah, it was you

Who made me dream

And cry for my homeland

Guaraci, hey hey

Anhangá ran away

Oh, Tupá God of Brazil

That fills up the sky with the Sun

With the stars

With the Moon

And with hope

Oh, Tupá

Take away from me this yearning...

Ah, Anhangá made me

Dream of the land I lost

HIs brief Iifer skinlessr
exposing his flesh,

capable of feeling pleasurer
rightr GIauber?

But even more of painr our pain.

Oncer I will never forget thisr
GIauber spent the morning

embracing me and crying.

Crylng excessively.

It took me a while to understand
that GIauber was crying

the pain that we would cry.

The pain every Brazllian would feel.

GIauber was crying for
the hungry childrenr

for the country that didn't work.

GIauber was crying
because of the brutality.

GIauber was crying
because of the stupidityr

mediocrityr torture.

He could not stand itr
so he cried and crled.

That's what GIauber's films are all about:

they are an elegyr a cry, a shout.

This is the Iegacy...

he Ieaves us.

He Ieaves us the Iegacy
of his indlgnation.

He was the most indignant among usr
indignant at this worldr the way it is.

Indignant because more
than any of usr GIauber saw

what the world could ber
and will ber GIauber.

It will be.

GIauber Iived between
hope and desperationr

IIke a crazy pendulum.

Maria Lucia Godoy pays homage to GIauber

VENICE 1980

AT THE VENICE FESTIVALr GLAUBER SHOWS
"THE AGE OF THE EARTH"

HE GETS READY FOR HIS LAST BATTLE,

WITH A FILM HE THOUGHT OF
AS A REVOLUTION IN FILMMAKING.

The third film is The Age of the Earth,

by Glauber Rochar
the great Brazilian director.

Ne made Antonio das Mortesr

which won an award in 1989
at the Cannes Film Festival.

Ne has already arrived,
but the film hasn't.

How would you introduce your film?

A Brazilian film by GIauber Rocha.
A Latin-Amerlcan filmr a universal film.

I won't explain anythingr
just watch it and listen to it.

This film is a breakthrough in film sound.

Is it a vanguard film?

It is an audiovisual fllmr
wlthout a narrative.

It's not a classic traditional fllm.

It's a film of images and sound, no words,

for that is theaterr not clnema.

Freedom!

There is a lot of strain,

and as the film is shown on the screen,

people started leaving the room.

At first they left quietly
so no one would notice.

For us who were therer
it was like the first blows.

I know very well the Italian environmentr

and I saw that even
a few of GIauber's fans

stood up and walked away.

We blame the coup, it's natural.

At the end of the filmr

the room was empty.

Gloria and Atlantic City were films

with fewer expectations
than The Age of the Earth,

and had better resultsr

because they were less ambitious projects.

But I thlnk...

The Age of the Earth is a flawed filmr
but I wouldn't say that to GIauber,

because he was flghting
a really hard battle.

With exception of the French
critics that were supportiver

everyone else vilified the film.

Nobody understood it very well.

And no one was paying
attentlon to the filmr

they were paying attention to GIauber,

and the criticsr especially the Itallansr
who were Iertistsr

got the wrong impression.

They thought he was an
agent of the imperialism.

So everything went wrong.

It wasn't well-accepted,
and he got really upset about It.

Andr as expectedr

at the end of the festivalr
when Louis Malle was awarded,

he did something unusual.

He protested in front of the Lido

against the cultural imperialistic cinema

that was blocking our roots and potential.

And a multitude of
journalists followed him.

It was something like...

Anthropophagyr
surrealismr combined together.

We only needed Oswald DE
Andrade and Bishop Sardinha

to complete the scenery.

I was worried and I stayed
next to him during the walk.

He noticed itr and said calmly:

"Don't worryr there's nothing wrong."

I told hlm he couldn't say those thingsr
and he saidr "I can."

"In the Iounge of the
Excelsior Venice Lido Hotelr

GIauber Rocha met Malle.

The French director carefully

approached the Brazilian
and sald in a fatherly tone:

"GIauberr calm down.

That's how festivals arer
not everybody wins."

The Brazilianr upset with the juryr
answered briefly:

"Maller you know this is not the point.

What happened here was something else.

You won the Golden Lion
because it was a setupr

you won because your film
was produced by Gaumontr

an imperialistic multinational."

Ne yells at the balconies
of the Excelsior:

"Louis Malle is a second-rate director!
Ne can't beat mel

I make the cinema of the futurer

and he makes commercial films."

This is disgusting!

The Festival was paid for
by Columbia, RAl and Gaumont!

Damnl This is a disrespect to culturel

Awarding a film by Louis Malle is a shame.

Mr. George Stevens
is representing the Pentagon!

Mr. Andrew Sarris is representing the CIA!

It's a shame!

The critics that agree with this award

are signing their cultural death sentence.

It's a shame!
It's an offense to our film tradition!

Nere in the ttaly of Rossellini,
of Visconti.

This is not possible!

WE HAVE TO BREAK UP NOW

BEFORE WE SEE AT THE
DOOR OF A FILM THEATER

A SENTENCE SOMEWHAT LIKE THIS:

TODAY IN KINESCOPE AND TECHNICOLORr

A GREAT SHOW
REPRESENTING OUR MISERY.

GIauber the Movier Labyrinth of BraziI

"The one person who knows
American Iiterature in Bahia is Ubaldo."

But I didn't know anfyhlng at all.

I had read a few thingsr
IIke Hemingway, things like that.

But he committed mer in such a wayr

to this Amerlcan Iiterature stuff
that I began to studyr

and I got nervous,

because people began
to demand that from me.

"GIauber said that you
know American IIterature."

He made me a Iiterary celebrity
and a wrlter.

He sensed things about me
I didn't know I had.

For exampler I had studied musicr

but I had never dared to orchestrate.

My dream was to compose a symphony.

So this guy comes up to me and says:

"You are going to compose
the music for Entranced Earth

and orchestrate it."

And I told him, "GIauberr this is crazyr

I have never composed
anything for orchestra."

He replied: "But I know you can do it."

In the end, I did it.

Around GIauberr
nothing was normalr commonplace.

That's what impressed me.

If he were here nowr

this video store would be differentr

we would be different.

He created a peculiar epic atmosphere.

He was epic with his life,
nothing was simple.

On the phoner instead of saying:

"Hellor who is it? How are you?"

He said: "What happens is that

the North-American imperlallsm
is attacking Embrafilmer

and you have to..."

Everything was IiPe thatr no clapboards.

GIauber was a "no-clapboard" man.

He exposed his theory
on humanity and politics.

Sometimes, he talked to me
as if he were Geisel and I was Prestes.

He used to consplre with me.

"But I don't even know Prestes."

In his mindr

I was a member of the Communlst Party,

Prestes and I were really closer
whatever Prestes wanted.

And he was Geiselr

he wanted to plot and conspire...

And he talked for hoursr
wlld with excitement.

You wouldn't contradict him.

He was full of ideas.

He wanted to ber if not the presidentr

at least the minister of culture.

He had Incredible projects.

I never thought an artist
could place himself at this Ievelr

could dream so much.

I think they are very special people
that helped us think big.

Today I feel thatr in Brazilr

people don't dream so muchr
they're not as daring

as they were in GIauber's time.

Today we talked about Juscelino,

who was also a dreamer
and had many projects.

For me, this is fantastic.

For a young artlst IIke me,
who was still Iearning,

it was fundamental.

Once we were walking down
Visconde DE Pirajé Street

to buy the newspaper,
towards General Osórlo Square.

He was whispering in my earr

making a small revolution.

Then he began to talk Iouderr

forgettlng about the ear thingr

and suddenly he was giving a talkr

speaking really Ioud on the street.

When we got to the squarer

he said to mer

"Listen. Don't tell anyone you saw mer

for your own safety."

And he left me standing therer

and I got really paranoidr

because there were a lot of people around.

"Don't tell anyone you saw mer
for your own safety."

He would get close to the person and sayr

"Don't tell anyone you saw mer
for your own safety."

Moving his hand like thisr
the fingers pointlng downr

he had a few hairs here.

That's what he did.

If you went to hls house
at 10 In the morningr

he'd be in his underwearr
his shirt unbuttoned,

sitting in front of the typewriter.

There weren't any computers.
Typing and talkingr

typing and talking.

You'd see photos on the
wall and paper all overr

on the floorr on the tabler on the wall,

on the ceilingr
under the typewrlterr in his pocket...

And he talked and wroter
"That's how it isr

the future of Brazillan cinemar
of world cinemar

the cinema revolutionr
that's what cinema isr

cinema is our Iivesr cinemar cinema."

With an unstoppable energyr
"Stop itr GIauber!"

"I can't! I have to talk about clnema!"

You have to photograph Barren Lives
because you will change photographyr

and put an end to this alienated

and colonized photography
of the Brazilian cinema.

"Glauberr lrm not a film photographer. r'

"lrll talk to Nelson,
I'll bring him here."

And he brought Nelson in to designate me

as the photographer of Barren LIves.

I said, "I can only
photograph with Leica cameras,

with a naked lensr I don't use a filterr
just natural light."

"That's what we want."

My theory Is that he acted like a priestr
he held the truth.

He had to tell the truth to everybody.

Not only to his friendsr
but especially to his enemies.

He carried God's word.

Ne had enough confidence and strength

to use the word to preach.

This obsesslon with his workr
with making everybody workr

it must come from a
Protestant background.

He was constantly affronting
Brazilian cinema.

Whenever Brazillan cinema was quietr

GIauber would say something really crazy.

At first, you were scaredr
and arter analyzlng it, you'd see

that the idea was organlcr
it was his way of doing things.

RIO
AUGUST 22ndr 1981 PARQUE LAJE

The New Cinema exists

as long as Don't believe Don't am the New Cinema.

I'm alive, and I'm making new films.

The things that exist around me
are a type of intellectual piracy.

I am like Joäo Goulart,

all filmmakers betrayed me.

They never forgave me for making
Black Godr Whlte DeviI

at the age of 23
and impressing the whole world.

THE SOUND OF THIS FILM WAS LOST,

A GREAT OFFENSE TO THE FILMMAKER,

AN ACT OF SABOTAGE

AGAINST OUR NATIONAL CULTURE.

Afternoon, a pink cloud
Slow and transparent

Over the space dreamy and beautiful

The moon rises softly

Embellishing the afternoon
This sweet maid

And moves on beautifullyr dreamily

Longing within her soul to look lovely

And screaming the sky and the earth

The whole nature

Flock of birds stop her sad laments

And reflect in the sea all your riches

Soft moonlight awake now

This cruel longing that laughs and cries

Afternoon, a pink cloud
Slow and transparent

Over the space dreamy and beautiful

Before GIauber's deathr

neither the Right nor the Left,

neither the New Cinema
nor the French New Waver

they didn't want anything to do with him.

After his death, they all didr
but only on the night of his death.

During the dayr
no one wanted to undertake anything.

GIauber had shattered

the Communist Partyr
the fasclstsr the militaryr

and they answered back.

When someone is a genius like GIauber wasr

or Villa-Lobosr or Darcy Ribelro or...

We can say people
who have original thoughts.

We can basically express it like thatr

a person that thinks differently,
that is orlginal.

These people suffer a Iotr
they are hauntedr

and also misunderstood.

They know their value...

and when they're not acknowledged,
they become very sensitive.

A contributing factor to his death
was this feellng of asphyxia

that he had towards the Brazilian cinema
and also the world cinema.

Until the day before he dledr
he was like a punchlng bag.

Brazil loves to hurt its best children.

GIauber only became unanimous as an artist
because of his tragic death.

GIauber the Movier Labyrinth of BraziI

ROOTS

According to GIauberr in Bahiar
a new art would emerger

the new Brazilian culture.

The art and the culture
from our generation

would emerge in Bahia.

The new Brazilian cinemar
the new theaterr the new music,

everything would come from Bahla.

We discoveredr one morning,
at the Liceo Theater,

Walter da Silveira making the Cinema CIubr

which was the process of informatlon
about cinema of the new generation.

We saw everything there was
until the middle of the centuryr

very well organized: the neorealismr

the Soviet cinema of the 20sr

the silent American filmsr
they showed everythingr

IIke a film forumr
with a feature presentation

and debate and analysis
of the film arterwardsr

that Mr. Walter wrote in the newspaper.

Pages and pages of revlews of those films.

At the tlmer three people
defined its composition:

Walter da Silveira in Bahiar
Alex Viany in Rior

and Paulo Emilio in S9o Paulo.

All of them were crazy
about Glauber Rocha.

Everybody saidr "That's GIauber,
he's brilllant, a genius."

And I admired and envied himr
but not in a bad way.

I wanted to be IIke himr
desired by women, as he was.

He wasn't such a womanizer,
he had a steady girlfriend.

I don't know If I'm allowed to say names.

-You should.
-Wellr I don't knowr

I might be sued.

He had an affair with this girl.

It wasn't an affair,

it was a steady
relationshlp with this girl.

She was a friend of miner
but I never saw her again.

Her name was Milse.

Like all his relationshipsr
it was complicatedr

full of commotionr something baroque.

GIauber and I had this intense debate.

Actually, he wanted to win the debater
and I had no special interest in...

He was my friend
and I was interested in his well-being.

But he was debating a serlous problem
of breaking up with Milse

and start dating Helena Ignés.

I remember we walked around for two hoursr

from the university to Lapar up and down.

He saidr "Should I break up
with Helena or with Milse?

This is a serious problem."

And I saldr "Yes, it's very serious."

I met GIauber because of his smile.

It was an ironic
but a very particular smile.

There was someone reciting Castro AIves,

he was from Bahia,

an expert in Castro AIvesr

a very handsome guy

from the Law Schoolr
very Gongoristic and baroquer

but a little too much.

He exceeded a little bit.

GIauber Iaughed at him.

I walked into the auditoriumr
and he was Iaughing.

He looked at me and smiled at me.

He gave me this smiler
it was something like that.

It was fascinating!

Glauber had everything:

he was brlght, intelligent, charmlngr

and crazy too.

THE FIRST FILM ONE NEVER FORGETS...

1959
20 YEARS OLD - O Pd,TIO

And we did O Pátio together.

It was our first filmr
and I was the producer.

1959 - A CRUZ NA PRAÓA

He didn't show us a script,

he only said that I was going to be in it

with a student from the Drama School
called AnatóIio OIiveira.

GIauber explained to me that I had to walk
while AnatóIio stared at me.

AnatóIio was supposed to
tease me and flirt with me.

A Cruz na Praqa is the story
of two homosexuals flirting.

Glauber said to me,
"Maciel, we'll shoot now

the most important scene
of the filmr the climax.

AnatóIio doesn't know yetr
I'll tell hlm now.

It goes IIke this: He approaches you,
and grabs your balls."

Glauber approached Anatőlio

and whispered in his earr
the way he always did.

AnatóIio was very reluctant.

Suddenly GIauber stopped
talking and shouted:

"You're not a professional!

You will never be a real actor.

An actor that refuses to shoot a scene!

Your career is over."

That affected Anatőlio,
and he made the scene.

1962
22 YEARS OLD

BARRAVENTO OPERA PRIMA AWARD

RARLOTV-VARY FESTIVAL CZECHOSLOVAKIA

GIauber Rocha's first feature film
approached the problem of Black people

in a village of Black fishermen.

It was produced in 1981, 1982.

In 1962, the committee of film selection
of the Ministry of international Affairs

sent the film to Karlovy-Vary,
where it won an award.

When the film was about to
be released for the publicr

the director of the Censorship Service

declared that the film had to be censored.

I was in the meetingr and I asked him why.

He said there was a Marxist
message In the film.

We argued about it
and finally the film was released.

1964
24 YEARS OLD

Black Godr Whlte DeviI

When I saw the dallies of Corisoor
that GIauber showed in the Cine Guarani,

at Castro AIves Squarer
and I saw that man moving In a circle.

I said, "Glauberr this is awful!
Do you really think

something is going to happen here?'r

He saidr "It doesn't have any sound yetr
or voices. When the music startsr

you'll see what happens."

The power of the people is stronger!

It was a milestone in my life.

It set new Iimlts.

It was an explosion.

I had never seen anything like that.

The film surprised us to a point

where we could no longer sleep.

It was pure adrenaliner

wltnessing the birth of a masterpiecer

of the film we wanted and needed.

And it was right there on the screen.

We had no idea of how great

and important it was to our generation,
and to us, at that time.

At the end of the filmr
we knew what we wanted.

But maybe not before.

GIauber the Movier Labyrinth of BraziI

THE MILITARY COUP OF APRIL 1 STr 1964
THAT OVERTHREW JANGO

ORDAINS A TIME
OF REPRESSION AND AUTHORITARIANISM

THE INTERNATIONAL CONFLICTS
AGAINST THE REVOLUTION AND IMPERIALISM

WON'T LEAVE ANY ROOM FOR IMPARTIALITY

"EVERY SPECTATOR IS A
COWARD OR A TRAITOR."

FRANTZ FANON

FAITHFUL TO HIS DESTINY AS AANGYr

GLAUBER THROWS HIMSELF
INTO THE EYE OF THE HURRICANE

1965
EIGHT INTELLECTUALS ARE ARRESTED

IN A GATHERING. AMONG THEM IS GLAUBER.

Then it happened. I raised the placardsr
"No more dictatorship"

as Castelo Branco went up the steps.

Ne looked back and became alarmed.

There were people screaming.

They broke Callado's eyeglasses
and hit Flavio Rangel.

Glauber was also there, and he said,

"There's only one way out,
we have to surrender. 'r

We were in jail for 11 days,
but they wanted 4 years for us.

CINEMA IS POLITICS'
MOST RADICAL EXPRESSION.

REVOLUTIONARY ART
SHOULD BE LIKE A SPELL

CAST ON A MAN THAT WON'T ALLOW HIM
TO LIVE IN THIS ABSURD REALITY.

THROUGH HIS WORK HE SEARCHED FOR
A POLITICAL SOLUTION FOR BRAZILr

FOR THE THIRD WORLDr
FOR THE WHOLE WORLD.

1967
27 YEARS OLDr ENTRANCED EARTH

Two yearsr 700 pages of script,

43 actors, general staff of 9 peopler

5 weeks shootingr

and a budget of 100,000 cruzeiros novos,

a new countryr Eldorado, is born.

Entranced Earth is born.

Before shooting startedr

Glauber Rocha gathered
the main actors together

for the first reading of the script.

Three tlmes he was defeated
and started all over.

Not even Christ could explain
what he did to himself.

Therefore I answered that Christ...

You have to come in
through a different way.

Your plan will be establlshedr

you have to do something
arter marrylng him.

You have to show signs of fear.

At the same timer the guy is a Iertist

and writes political poems.

He became more aware of things.

And he felt it was time to change.

First you have to go one step forwardr
then you look back.

Then you look at it.

Then you look at it.

Our first contact was very funny.

I was doing Liberdade, Liberdade,
which was very successful.

"GIauber is here today!"

As he didn't show up,
I thought he didn't like it.

The following day, he came back.

This timer he walked
around during the playr

and we could see his face
under the Iights sometimesr

and I wondered what was going on.

After the playr once agalnr
he didn't talP to us.

I thoughtr "How bizarre!"

On the third dayr GIauber was there again.

Only this timer he Iay on the floorr

he bothered the spectatorsr

he did something IIke that
right to my face.

I wouldn't understand.

This time he came to my
dressing room and said,

"Paulor I want you to
play a role in a film.

I want to make Entranced Earth.

He gave me the scriptr

and I was really touched
with the invltationr

and especially because he watched me
from all posslble angles

to make sure I was good enough.

GIauber was a great director.

He could get the best out of any actor.

He made people do thelr bestr

when you're about to go crazy
and don't know what to dor

then it was good enough for hlm.

HIs "take one" was when the
actor was completely exasperated.

I remember a really long shot
of my last speech

on the stairs of the Municipal Theater

representing the Government Palacer
something oneiric.

He stood behind the camerar sayingr

"More, morer more!"

He wanted more. More.

I was exaggerating as much as I couldr
and he wanted more.

I read an interview he gave
where the reporter asked himr

"How did you get the
actors to act so well?"

He answeredr "It's very simple.

I get on their newesr
and when they're about to fightr

I tell them to do It."

He used to make me cry

because it was very dlsappointing to me.

The mfyh of Black Godr White Devil.

It was totally different
than what I thought.

For exampler at that time,
the films were dubbedr

and he was always interrupting us.

For an actorr it's awful to shoot a scener

and if it was a closed scene,
he stayed right here.

RIght herer a few inches awayr screaming:

"Cry! Scream! Scream!"

Do you understand?

It went against everything I dreamed of.

Pause, silencer understandlngr

emotionr techniquer

relationship with the lens.

And he blew up the lenses,
he broke them apart.

The 50s, the 18s, the 75sr
he blew them all up.

Jardel became so stupefied
that he wasn't able to do anything.

Glauber directed everything.
"Raise your right eyebrowi

Look to the left, look down, talk,
now you can talkl"

That's how it was.

Beyond love.

Beyond life.

It's late.

GIauber wrote one filmr
filmed a second oner

and produced a third one.

Any of those
would have been a great film.

He knew what he was doingr
it was impressive.

But he let the moment guide him too much.

He did whatever came up in hls mlnd.

ENTRANCED EARTH BECOMES THE BANNER

OF THE REVOLUTIONARY FIGHT.

BANNER CARRIED
BY THE FRENCH STUDENTSr

WHO SHOWED THE FILM
ON THE WALLS OF PARIS

AND NANTERRE DURING
THE PROTESTS IN 1968.

I was thrown at the heart of my time.

I raised my first banners.

They came and made a flrer
my friends were killed,

I was arrested.

The left me in a fllthy cell for daysr
full of dead rats.

They used electric shocks on mer

they tortured mer and released mer

leaving marPs.

But I still carried
my placards and pamphlets.

And never because of prlder
it was something biggerr

in the name of the reasoning
of my feellngs.

BETWEEN THE UNDERGROUND
AND THE BIG FILMr

GLAUBER CHOOSES BOTH OF THEM.

COMMERCIAL VANGUARD

1968
29 YEARS OLD - CpNCER

The telephone rangr It was GIauber saying,

"Carvana, tomorrow at eight
at Mapar we're shooting."

I was surprised.

I saidr "What do you mean,
tomorrow at eight at Mapa?

Are we going to Milagres?"

Antonio das Mortes was made
in Milagres, like The Guns.

He saidr "Noi We're doing it herer
starting tomorrow.

It doesn't matter what it isr
tomorrow at eight."

And I saldr "GIauberr
can you tell me what film?"

"Nor I don't have toi
Tomorrow at Mapa at eight!"

I askedr "With whom?"

"Odeter you, Pitanga, Rogério Duarte"...

I saidr "It's okay."

I called Odete and asked her
if she had spoken to GIauber.

She said she had.

She asked me about the film,
but I didn't know anything.

At 8:00 a.m. we were all there,
it was like an order.

If Glauber said so,
it was like an order!

And that's how I made a film
with GIauber Rocha.

I don't know what it is about.

I've never seen it,
and it's called Cáncer.

1969
30 YEARS OLDr ANTONIO DAS MORTES,

BEST DIRECTION
CANNES FILM FESTIVAL.

Go, António.

I share the enemy with you.

But you fight with your courager

and I fight in your shadow.

Nor professor.

Fight with the power of your Ideas.

They're more valuable than I am.

When he finished Antonio das Mortes,

he was considered the most Important
filmmaker outslde Hollywood.

The film was very successfulr
including with the public.

It was the foreign film that year,

with the largest box office
gross in France.

In his mindr he thought
of it as a Western,

that it was a little commerclal.
He didn't like this fllm very much.

It's incredibler very stranger

these two filmsr Cáncer
and Antonio das Mortes.

They're two sides
of the same inspiration.

THIRD WORLD

1970
31 YEARS OLDr THE LION HAS SEVEN HEADS

CONGOr AFRICA

The Lion Has 7 Heads is a beautiful film.

It's Glauber's planetary vision
that went to Africa

in search of his African roots,
during that crazy time,

the political situation, the guerrilla.

And the characters:
Carvanar the colonialist.

There is a guerrilla,

and also the African people
who were betrayed.

I love this film.

I'm not interested
in making money with films,

or in being a part of the film industry.

I think that the film industry
is the cinema's death sentence.

I'm not interested in turning the cinema
into a mass consumption product.

This is pure demagogy.

If I wanted to make money,
I would make commercial films,

which I can do very wellr
but I don't want to,

and I think it's immoral.

My goal is to establish a dialogue
with the audience,

but without cheating them
during ninety minutes

while they pay to sit there naively.

And then your conscience says:

"That's exactly what you
have to do! Very welli

It's making good money
and people like it."

This is a reactionary way of thinking

of certain Brazilian critics
and producers.

We must put an end to it.

1971 R GLAUBER'S EXILE

The tropicáIia years
were very important to GIauber

because it was the time
when he actually decided to go to exile.

Ne had to.

In 1971, things were
complicated here in Brazil,

so he went to Chiler Cubar

New York, Paris, Rome.

GLAUBER GOES TO THE US

I arrived in New York on March 15r 1971.

Around April 1st, 1971 ,

GIauber comes up
with something fantastic.

On his Ieftr Rubens Gerchman.

On his rightr Naná Vasconcelos.

GIauber Rocha asked me
what I was doing therer

so I asked him the same question.

He saidr "I want to maPe a film in Chile
with Norma Bengell.

Come Live with me."

And I answered, "Right away."

Ne was the first important Brazilian
to arrive in New York.

There was a magazlne called
Evergreen. We bought it.

To our surpriser
there were 20 pages about him.

So he was treated IiPe
an important person.

It was GIauber and Godardr at that Ievel.

But he really liked LSD,
and he was frequently high.

All those muslcians did it,

and he was always with them.

I remember that Gato Barbleri
was his inseparable friend.

He talked to Norma Bengell
on the phone in one corner.

I was in the other corner
cooking feijoadar

and Naná played the berimbau.

But he was always calling Perur Mexico...

"I want to talk to AIvarado.
I want to make a film about him."

When he left the studio,

there was a huge phone bill.

Everything was abundant,
he had no Iimitsr

always overflowing.

THIRD WORLD

GLAUBER IS INVITED TO FILM IN HOLLYWOOD
AN ADAPTATION OF WILD PALMS.

Wild Palms is a noveI

published in 1946 or 1947.

The main thing about this book

is that it was achronological,

IIke Last Year at Marienbad,

started In the middler skipped to the end.

And GIauber wanted to do itr

because in 1971 R
the book was released again

in its original versionr
just like Faulkner had wanted It.

Glauber was thinking
about making this film

when he came back from Chile,
but it never happened.

When we finlshed
the first drart of the scriptr

we were going to submit
it to Anderson and Roberts

for thelr approval.

They owned the copyright of the book.

They argued and GIauber
said that he never accepted

the Brazilian dictatorshlp
and he wouldn't accept Hollywood's.

And they put an end to the project.

I'M NOT AN EMPLOYEE OF A STUDIO

I FILM WHATEVER I WANT TO FILM.

For this film in Chiler
he wanted Norma BengelI

as a member of Salvador
AIIende's governmentr

in a redemption fllm.

I remember he talked to a lot of people,

including very capable peopler
such as Afonso Beato,

who was beginning his
career as a photographer.

GIauber said that a coup d'état
was about to happen In Chile.

That's why he was in a hurry.

It started with a long table
covered with dry Ieaves.

Everything was dry, Iifeless.

I gave testimoniesr
holding Marighella's pictures.

He wanted me to climb the Andes naked
with a naPed guerrilla.

But the guy didn't want to do it.

He came with an oneirlc vlsionr
with a viewr

but without a project
of a film about the revolutlon.

He had a few images of the Antichrist.

We looked at the mountains and saldr

"The Antichrlst is coming!"

"Louder!"

"The Antichrlst is coming!"

"Say what he will do."

"He will come!"

There wasn't any...

There wasn't a script.
It was an adventure.

The minute GIauber worked on a film

that approached a metaphorr

he didn't really want to make a film
about the Brazilian Revolution.

Then GIauber argued with the guerrillas.

I don't know exactly what It wasr
but GIauber stopped the film.

He started fighting
with his Brazilian frlends.

And everybody ended up fighting.

It was a real disaster.

"I do not admit that people ask me for
an ideological certificate of what I do."

GIauber just wouldn't get along

with people who were used to
a military discipline.

For someone as contradictory
and idealistic as GIauberr

that wouldn't work.

I HAVEN'T SERVEDr AND I WON'T SERVE

ANY CULTURALr ECONOMICALr
POLITICAL POWER CENTER.

I'm glad you are making
a film about GIauber.

Why?

Because he doesn't have
the recognition he deserves.

He was discriminated agalnst

because of his attitude
towards the military.

It was...

When the intellectuals get into politics,
they always stumble.

But he stumbled in the right directionr

because I think he was
a nationalist above allr

a revolutlonary nationalist.

He believed there was a solution.

I didn't know him at the time.

But anyway...

He had an anarchist vitality.

He was an artistr
and a really nice person.

Did you see him in Cuba?

Yesr we used to meet at nlght.

I used to drink a IIttler but he smoked.

Those were relaxing moments,
a little surrealistr oneiric.

I remember him as an oneiric person.

He Iived his dreams
as much as the realityr

but he was an amazingly intultlve person.

It was difficult to be crltlcal of Cuba.

Because of the ways
in which things happened In Cuba,

the type of information
we had access to at that timer

and the enormous solidarity
that Cuba awakened in usr

during the first years.

To be convincingr the critical
standpoints had to be clear,

based on real factsr

marked by a very coherent
political discourse.

Very few people achieved this.

Nowadays it's different,
but not back then.

With GIauberr this kind of
conversatlon was difficultr

because he mixed his personal sider

ideologicalr political,
and the cinematographlcal.

But time has shown

that many of the critiques were right.

Talking to him was difficult.

At least for me.

IN PRACTICEr IDEOLOGIES
HAVE CAUSED BLOODY DISASTERS.

IN APRIL, 1974,
GLAUBER GOES TO PORTUGAL

TO FILM AS ARMAS E O POVOr
A FILM ABOUT THE CARNATION REVOLUTION

IN 76r IN ITALYr HE FILMS CLARO.

How do you feel today, the 1st of May?

I don't have enough words
to thank the universe.

GIauber and I were friends

during the 60sr 70s in Romer

which was a deposit of experiencer

an extremely creative period.

Glauber had great knowledge
and an amazing ability to think.

Ne was fascinating.

He used to raver
but with a lot of reasoning.

Glauber was a citizen of the world,

so to see him away
from his national context

was normal.

THIRD WORLD

GLAUBER GETS READY
TO RETURN TO BRAZIL

After the tropicáIia periodr

which was an important periodr

because when we spoke
to GIauberr he mentioned

AIbuquerque Limar
General Geiselr all of them.

He was preparing the speech

and talPed about the idea of détente.

Sometimes he mentioned Velasco AIvarador
his Peruvian experience.

THE ROADS TO THE APPROACH:

GLAUBER MEETS JANGO IN PARIS

We were at a Frenchman's houser
I won't say his name,

with another Brazilian girl.

GIauberr Jangor Debray and myself.

Jango did an analysis of Latin America
completely.

Brilliantr without any theoryr
theoretical Ianguager

with great political sensitivityr he said

that Torrez would be
overthrown in Boliviar

Perón would come back in Argentinar

and that General Geisel
would be our next president.

I arrived at Gerard Leclery's house
on Foch Avenue with Régis.

Jango and GIauber were already there.

I think there were some filmmakers.

It was such a long time agor
I can't remember very well.

We had a meeting there.

Régis Debray didn't say a word
during the entlre evening.

Jango wasn't comfortable with that.

Later onr GIauber said:

"Régis didn't say anything
because he was jealous of you."

We talked about how to
overthrow the militaryr

how to help Brazil
get rid of the dictatorshipr

of course.

I've told this
to more than 20 journalistsr

but they won't publish It.

They prefer to keep the image
of GIauber as someone crazyr

who wrote a Ietter...

II GLAUBER SIGNALS TO THE MILITARY

I had sent GIauber a long questionnairer
and at the last minute, I got a Ietter.

I looked at the Ietter and got desperater

thinking that I had missed
the interview with GIauber.

I requested an interviewr
and he sent me a Ietter.

When Don't got home, intrigued,
I decided to read the letter.

At the end it said,
"You can publish it, if you want."

I called Cacár who had been to Italyr

and asPed him to read
the Ietter. He did It.

And Cacá said it was
exactly what he had in mind.

I read the Ietter again and noticed

that I was supposed
to publlsh the ending.

ANTONIO DAS MORTES
HAS SPOKEN TO THE THIRD WORLD

HE'S ALVARADO AND RADHAFI'S PROPHET.

For exampler when GIauber
came to see me in Peru,

I told hlmr "I Iert AIIende behind.

I was his assistant in Chiler

because I can't see Brazil
becoming a socialist country

through the elections.

But it's not imposslble that

the military, instead of being
the armed hand of the dominant class

and Iandownersr

change their position.

I'm studying here how a military group

made and is still making
the Peruvian revolution."

He got interestedr
and wanted to meet peopler

and he learned a lot about it.

That's why GIauber
wrote those crazy words to Zuenirr

"The two greatest geniuses
are Golbery and Oarcy. "

He wanted me to get close to Golberyr

the mentors of the coup d'étatr
that they called revolutionr

so that I could make them
come to their senses.

Of courser the Iert never understood it
and was against GIauber.

But there was a reasoningr a Iogic

to GIauber's apparent absurd behavlor.

And because of one of those
coincidences that GIauber Iovedr

he arrived in Portugal
on the same day Figueiredo did.

He was in Sintrar
when they offered Figuelredo

a Iunch party in the village.

That dayr GIauber woke up really early.

I joke around that he did things
he never did on the same day:

he shaved, took a showerr
and combed his hair.

And went therer
where 3r000 people were waiting.

When Figueiredo arrlvedr he said:
"You are a great president."

Figueiredo Recognized him and said,
"I really like your films."

RIOr AUGUST 22r 1981 BAMBINA CLINIC

Glauber is dead. He is
not wearing an overcoatr

he's not wearing a tuxedo,
he's not wearing a tie.

The dead is dead. He hasn't shaved,
his hair is not combed,

he's not wearing a buttonhole flower,

he's not wearing
patent-leather shoes,

he's not pretending he's alive,
won't be a member of the Academy.

The dead is dead, on the bed,
in an empty room.

As he can no longer eat,
as he can no longer die,

nurses and doctors
won't take care of him anymore.

They crossed his hands
and tied his feet.

There's nothing left to do
but pack him and throw him away.

Misery

Sunny morning

Misery

Misery

BLESSED ARE THE CRAZYr FOR THEY ARE
THE ONES WHO INHERIT REASON.

GLAUBER'S REVOLUTION

INVADES CULTURAL SPACESr
TRANSCENDS POLITICAL BARRIERS

AND THE BARRIERS OF PROHIBITION.

Once he came to my place
and wanted to smoke pot.

I told hlm to do it In the bedroom.
Jorge Amado and Zélia were also there.

I told hlmr "Stay in
the bedroom and smoker

I'll keep company with Jorge.

Open the windowr
I hope we won't smell it

from the IIving-room."

He saidr "Ubaldor you could
say something to Jorge Iiker

don't you want to try some?"

I repliedr

"No way! You talk to himi

He cannot even hear
the word marijuana."

I would never offer him marijuana

or tell him that GIauber
had a bong with hashish

for him to try.

He also taught me something.
Why should we wear clothes?

At least in your own privacyr
you should be naked.

That's the Ieastr for a human being.

-DId he talk about It?
-Nor he just did it.

That's all.

It was complicated because
I had to manage a companyr

with a naPed directorr
partner and manager. It was tough.

He arrived at 7:00 a.m.

Sometimes he was the first one there.
He edited the films naked.

He visited me In Uruguay.

I was supposed to attend a meeting

with the candidate for presldency

and the main Uruguayan politiciansr

who wanted to talP to me about
Latin Amerlcan politics.

When GIauber found outr he went crazyi

He insisted
that I bring him alongr and I did.

I was talking to the head
of the University of Uruguayr

the candidater
a group of important people.

Then I smelled something.

It was GIauber smoking pot.

Smoking marijuana.

I didn't know what to do!
I thoughtr "He's crazy!

I hope people don't
realize what he's doingi"

And he smoked the entire
marijuana clgarette.

Then he put It out in a vase
and paid attention to our conversation.

1976
37 YEARS OLD - DI CAVALCANTI

He wanted to make a film
about DI Cavalcanti.

He asked me a lot of things
about paintingr

if I Iiked Portlnari
or Di Cavalcantl better.

"He painted our racer
he palnted Black women."

He gave a speech about
the mulatto in Di's work.

IN 1976r GLAUBER SHOOTS THE FUNERAL
OF THE PAINTER DI CAVALCANTIr

HIS LONGTIME FRIEND.

AS REQUESTED BY HIS FAMILYr

THE EXHIBITION OF THE FILM
WAS PROHIBITED.

A WORLD MASTERPIECEr THIS SHORT FILM
WAS AWARDED IN CANNES IN 1977,

ITS EXHIBITION REMAINS PROHIBITED

At 8:00 a.m.R GIauber knocPed on my door,

where I was editing Gordos E Magros.

And he told me about
DI Cavalcanti's death.

I had not even read the paper.

And he proposed that we made a film
about the last great modernist painter.

We arrived at the museum,

and there was a security guard
at the door

who asked us where we were
taking the equlpment.

GIauber replied that it was the New Cinema
paying its respects to Di Cavalcanti.

"Do you have anything
against the Cinema Novo?"

The guard said that only
GIobo network could go in.

GIauber repliedr
"GIobo is a television networkr

it's different. Please watch our car."

The guard helped us carry the equipment.

"Now let's get closer to the corpser
and I will remove

the handkerchief from his face,

and you start moving the camera
towards his facer

then t'll remove the handkerchief."

I started filming, then I saw Di's handsr

which had been crossedr
and reached his face.

Ne had a kind of smile on his face,

a dead person that had a great lifer

that didn't owe anything.
Di's amiable face,

some said it was ugly,
but extremely friendly.

The film won the special award in Cannes.

GIauber started screamingr "We won it!"

Brazil is so undewalued internatlonallyr

that an award like that
brings us some hope.

But I'm not really into success and fame.

DId you expect to win the award?

Of course I didr I Pnow what I do.

People think I'm crazyr but I'm not.

GIauber the Movier Labyrinth of BraziI

I BELIEVE THAT A MASTERPIECE
IS A PRODUCT OF MADNESS.

MADNESS LIKE THE LUCIDITY,

LIBERATION OF THE UNCONSCIOUS.

When GIauber diedr you talked about
cultural murder. Do you still believe it?

Nor it was the corporatist paranoia
of the time.

It wasn't a cultural murderr
but I think GIauber died

because he wouldn't stand
IIving in this world today:

untranscendentr globalizedr

Iacking utopia, he wouldn't stand it.

Because GIauber was pure utopiar
he Iived for it.

If he had to adapt
to a world of marketlngr

a world of opportunismr

of the yuppie individualism,
and all this nonsense,

a world without heroesr
wlthout revolution...

The idea of revolution has ended.

He had a self-destructive side.

Sometimes he was very...

He tortured himself with his crazy ideas

and exaggerated.

He was always at the Iimit.

Whenever he wantedr he had discipline.

Even in hls chaotic way of studyingr
he made a very rigorous selection

of the material he would actually use.

But as a creatorr that hasty forcer

that came from his creative energy,
superseded it.

I don't know If the critics agree with mer

but GIauber ascended gradually

towards the Iiberation
of his unconscious world

that fermented inside him,

as you can see in The Age of the Earth.

GIauber was searching
for his own unconscious.

He vomited this unconscious all the time.

This is the period when
he walks around nakedr

or painted like an Indianr and...
Breaking all the rules.

It was the period of the
stormy production of

The Age of the Earth.

The five last years of his life.

The story of the alligator
happened in 1980r

a few months before his trip to Venice.

I heard he wasn't doing too wellr

and when I saw him,
he was in a state of distress.

"Tell Nélson Pereira dos Santos
that I need to see hlm."

So I asked somebody to fetch Nélsonr

and Kim sald they were
not talking to each otherr

and I Insisted.

So Nélson arrived

with Dr. AIexandrer an acupuncturistr

that GIauber had called.

The doctor opens his briefcase...

gets the needlesr

places a small mattress on the floor.

While watching himr GIauber has an idea.

He tells the doctor
to take care of Nélson firstr

because he needed It more.

Nélson didn't know what to do.

"Nélson, you have to try thisr
it's extraordinary.

Acupuncture should become
part of our culture."

Nélson immediatelyr
full of good intentionr

IIes on the mattressr
and the doctor begins

to insert the needlesr
and they were more effectlve

in GIauber than In Nélson.

Glauber asks the doctor,
"Oo you think I'm gonna die?'r

"Of course not!r'

"I'm being haunted
by this really strange presencer

an alligator."

"An alligator?"

"Do you thlnk I'm crazy?"

"Of course not!"

"Take this alligator away from the beachi"

He Iived intensively!

Destruction and construction
walked side by side.

Hélio Pellegrino said in the funeral:

"It was inevitabler

he burned both ends of the candle."

The two flames would eventually meet.

GIauber was a great friendr a brother.

I miss him and think of him all the time.

He shouldn't have died.

He died as a hero and a fool.

1980
41 YEARS OLD - THE AGE OF THE EARTH

LAST FILM BY GLAUBER ROCHA

MANY FRIENDS HAVE
FOLLOWED DIFFERENT PATHSr

I'M WITH A FEW WAITING FOR
THE APOCALYPSE AND THE NEW UTOPIA

Blessed are...

those...

who are hungryi

Blessed are

the miserable!

For they wlll be Iiberated!

In an environment
such as the Venice Festivalr

that film was difficult and too long.

Everyone was puzzled.

Nobody that I knew
thought of it as a great film.

GIauber felt really bad.

I watched it again
in a less stressful environment.

GIauber himself had contributed
to that whole situation.

I watched that fllm
again a few months Later,

at a small festivalr quietlyr

calmlyr without the normal
rush of the great festivalsr

and I had a completely
different impression.

I noticed it was a great film
for the future.

I know that a film can't maPe the future,
but it was the manlfesto

of a third-worldist cinemar
of the futurer an utopic film.

That's the fllm he wanted.

With one exception: he didn't
want the rolls numberedr

and Embrafilme didn't agree with that.

He didn't want credits like:
"Embrafilme Presents"

or "The End."

The idea was that the rolls
could be shown in any order.

Ne was tired of the narrative cinema,
he said that all the time.

He said it was how the clnema got lost.

"Why is the cinemar

something so expressive and strong,

IImited to telling stories?"

We have arrived at the Holy Landi

We have arrivedi

We will build a new nation!

Here, we will build a new nation!

The film doesn't have a plot.
It's an audlovisual trip

talking about the Brazil of all tlmes.

It's a poemr not a playr and not a novel.

It doesn't tell a story,
IIke people are used to.

Since everything is inverted,
people get lost.

Wellr that's the fllm.
Watch it and listen to it.

Films are for watching and listening.

I don't make conventlonal films.

My films come from another spacer

and they don't obey
the conventional rules of drama.

They said the film was crazyr
hard to understand,

that instead of being a Mamist,
I've become a Christian.

That I was no longer committedr

that I have betrayed
the revolutionary principles.

They tried to attack me ideologicallyr

imputing political obligatlons to me.

And they were not capable
of understandlng it as something new.

They are ignorant.

This film goes beyond politics,
into phllosophy.

Andr for themr a filmmaker
could never be a philosopher.

That's what happened.

It's not a commercial or political filmr
it's not a westernr or a porno movie.

It's a religious film, therefore it's new.

So I went to the cathedralr
said a barbarian massr

and people got scared.

If they got into itr
they would have to pray.

I told themr it's just
IIke a barbarian Christr

arriving at the catacombsr
and you are accusing mer

because your Romans and Italians,

have the hablt of throwing
the Christians to the Iions.

But I'm not afraid of them,
just like Daniel wasn'tr

and tamed the Iions.

Love is peacer
the freedom of my naked body.

I want your nudltyr come to me!

CONDEMNED BY CRITICS
AND ABANDONED BY THE PUBLICr

GLAUBER LEAVES FOR PORTUGAL.

I want love, distressed and peaceful!

I don't want a crazy lovei

I want love, Don't want freedom!
I want to scream, I want to sing!

Those were young people
that loved to make films.

This group of people has some kind of joy,

of doing what you love,

with a whole bunch of talented friends.

At the same time,
each had its own personal idea.

They thought we would change Brazilr
and also the faith they had.

The truth is that it's been too long
since GIauberr

and the worst thlng about
Brazil is not having him here.

That's it.

It wasn't just GIauber.
My generation was hit.

I lost Leon, GIauber, and Joaquimr

my closest friends in the cinema.

I miss him right herer right now.

I wish he was here now.

Misslng someone is terribler brother.

PAULO GIL SOARES DIED
FIFTEEN DAYS AFTER THIS INTERVIEW

How would you define GIauber?

I hope I have time to tell this story.

We went there to meet the producer.

He called every producer

at Brown Derbyr the restaurant
the IooPs IIke a derby hat,

in Hollywood. His name was Spalas.

We waited for himr drinking at the bar.

When he arrivedr GIauber was all excited.

Spalas got up, he had a hole In his pantsr

and GIauber did this: "Ah!

My producer is showing his assi

Damni I'm screwedi"

Then he did the following...

This is a crazy story.

He gave me this serious look.

Spalas was here...
I don't remember very well,

I know the three of us
were sitting there.

GIauber looked at me,
he was really seriousr

and farted.

It was a silent fart,

but it had an awful smelli

Spalas and GIauber looked at me

as if I had done it.

And I saldr "You bastard!

You fart and you say it was me!"
And he was...

THAT'S THE STORY
OF THE BOY WHO WAS BORN

IN VITSRIA DA CONQUISTA, IN BAHIAr

WHERE ASSASSINSr CRIMINALSr PROPHETS

AND POLITICIANS
ARE COMMON CHARACTERS.

HE TURNED DREAMS INTO HISTORYr

CHALLENGED AND OVERCAME OBSTACLES.

IT'S THE STORY OF A MASTER
OF THE POETIC CINEMA.

IT'S THE STORY OF
GLAUBER PEDRO DE ANDRADE ROCHA.

TRIBUTE TO GLAUBER
ONE WEEK AFTER THE FUNERAL.

Oh, sunny morning

Anhangá ran away

Anhangá hey hey

Ah, it was you

Who made me dream

And cry for my homeland

Guaraci, hey hey

Anhangá ran away

Oh, Tupá

God of Brazil

That fills up the sky with the Sun

With the stars with the moon

And with hope

Oh, Tupi

Take away from me this yearning

Anhangő made me

Dream of the land that I've lost

Brazilian's Intellectual vanguard

is colonized by North Amerlcan ideology.

CInema Novo was an
internatlonally important movement

in the 60sr
which created a Brazilian CInema.

This movement has now been destroyedr

and I'll talk about it Iaterr
bringing Into question

the responsibilities
of some Important filmmakersr

who have given themselves
to the sort porn industry

or sub-commercial filmsr

who collaborate with multinationals

and now depreclate Cinema Novo!

They won't survive
wlthout going bacP to it.

As Nelson P. Santos says,
"if you didn't like this story,

go to hell, write another one. 'r

GIauber the Movier Labyrinth of BraziI