Today marks the beginning of the "Festival du Cinema Brésilien Paris," running until next Tuesday (April 2nd). This event serves as a platform for showcasing Brazilian culture in Europe, particularly in the iconic "City of Light," which has historically been a beacon of society. It is important to consider how this representation aligns with our rich 8.51 million km3 heritage. Additionally, it's noteworthy that most of the films being screened will debut in France, with many never before seen in Brazil. This marks the 26th edition of the festival, with this year's honouree being the esteemed figure of Cinema Novo, Antônio Pitanga. Let's explore the intricacies of both the cinematic movement and one of its most recognizable faces.
Cinema Novo emerged in Brazil during the 1960s and 1970s as a unique fusion of France's New Wave and Italy's Neorealism. It represented a departure from traditional storytelling norms, drawing inspiration from the subversion seen in the French New Wave and the denunciatory themes characteristic of Italian Neorealism. In contrast to the mainstream Brazilian cinema of the era, which mainly comprised musicals, comedies, and Hollywood-style epics, Cinema Novo films delved into the harsh realities of Brazilian society. They shed light on marginalized communities such as the favelas (urban slums) and sertão (rural hinterlands), bringing their stories out of the shadows and challenging societal norms.
Cinema Novo intertwines with the concept of cultural cannibalism, as coined by the modernist Oswald de Andrade. This concept refers to the phenomenon where a colonized culture absorbs and transforms elements of the dominant culture, resulting in the creation of something new and unique. It metaphorically suggests a process of "eating" or consuming aspects of foreign cultures, digesting them, and incorporating them into the indigenous culture's identity. In the context of Cinema Novo, this concept is reflected in the way filmmakers assimilated and reinterpreted foreign cinematic influences, such as the French New Wave and Italian Neorealism, to create a distinctly Brazilian cinematic style and narrative voice.
Cinema Novo aimed to critique the artificiality and alienation often found in foreign cinema by addressing realistic themes that tackled the issues of underdevelopment. Despite facing constraints such as limited technical resources, producers, directors, and writers involved in Cinema Novo enjoyed significant creative freedom in the production process, guided by the motto "A camera in hand and an idea in mind." As a result, they embraced certain characteristics that became emblematic of the movement, including the use of simple or natural settings, static imagery, minimalistic dialogue among characters, and the employment of non-professional actors. These characteristics contributed to the authenticity of Cinema Novo films and facilitated the delivery of social and political commentary embedded within them.
The backdrop of Cinema Novo played a significant role in shaping the movement. Initially, it gained prominence during the tenure of progressive Brazilian presidents such as Juscelino Kubitschek and later João Goulart, who influenced Brazilian popular culture. However, in 1964, the beginning of the Brazilian Years of Lead marked a pivotal moment. This period saw the onset of a 21-year-long military dictatorship characterized by authoritarianism, human rights abuses, political persecution, censorship, and a cultural boom. Despite the oppressive political climate, Cinema Novo persisted as a vehicle for social critique and artistic expression, reflecting the tumultuous socio-political landscape of Brazil during that time.
The first film often cited as the starting point of the Cinema Novo movement is "Rio, 40 Graus" (Nelson Pereira dos Santos, 1955). Many critics and scholars consider it an important precursor due to its socio-economic commentary and its depiction of the challenges faced by marginalized communities. The socio-economic chess over the black and white pavement from Rio de Janeiro. Set against the backdrop of Rio de Janeiro, the former capital of Brazil, the film portrays the harsh realities of life for the city's inhabitants, using the scorching heat as a metaphor for the social and economic struggles they endure. "Rio, 40 Graus" laid the barebones for the Cinema Novo movement, establishing themes and stylistic elements that would become central to the movement's ethos.
Cinema Novo is typically divided into three distinct phases.
During the early phase of Cinema Novo (1960-1964), filmmakers focused on intense rural settings, particularly the sertão regions of Brazil, to highlight social issues affecting the working class. Themes such as hunger, violence, religious alienation, and economic exploitation were depicted authentically, portraying the struggles of the working class with fatalism and stoicism. Films like "Vidas Secas" (Barren Lives) by Nelson Pereira dos Santos (1963) and "Deus e o Diabo na Terra do Sol" (Black God, White Devil) by Glauber Rocha (1964) captured the harsh realities of rural life, aiming to evoke empathy and understanding from audiences.
During the middle phase of Cinema Novo (1964-1968), a shift occurred as Brazilians lost faith in the movement's promises to protect civil rights amidst the rise of the Brazilian military dictatorship in 1964. Facing increased censorship and repression, filmmakers adapted by incorporating themes inspired by Tropicalismo. Films of this phase addressed issues related to the dictatorship in a subtle and allegorical manner.
Tropicalismo is renowned for its radical aesthetic innovations, which blend elements of traditional Brazilian cultural expressions—most notably, the merging of the popular and the avant-garde, as well as the fusion of Brazilian tradition with foreign trends of the time. Advocates of Tropicalismo opposed overly patriotic nationalism and the extreme disdain for foreign cultural elements.
The later phase of Cinema Novo, spanning from 1968 to 1972, was characterized by increased repression and censorship under the Brazilian military dictatorship. Many filmmakers faced exile or were subjected to censorship, which ultimately contributed to the decline of the Cinema Novo movement. However, Cinema Novo left a rich legacy, which, despite not being fully appreciated in its home country, has been praised abroad.
Cinema Novo paved the way for Cinema Marginal from 1968 to 1973, which embraced an experimental, subversive, and countercultural approach, diverging from the prevailing narrative and aesthetic conventions of commercial cinema. Filmmakers of Cinema Marginal explored marginalized themes, employing low-budget production techniques and a raw, realistic aesthetic. They frequently challenged censorship norms, addressing taboo issues and boldly exploring creative freedom.
Embrafilme was a Brazilian government agency responsible for promoting, supporting, and funding the Brazilian film industry, akin to the Cinema Novo movement. Established in 1969 as part of the military government's efforts to oversee cultural production amidst censorship in Brazil, Embrafilme provided financial aid to Brazilian filmmakers and production companies. It facilitated the production, distribution, and exhibition of Brazilian films domestically and internationally. Embrafilme played a crucial role in shaping the Brazilian film industry until its dissolution in 1990, prompted by shifts in government policy.
Beyond the movement's end, its artistic impact endures, uncovering hidden gems within Brazilian society. Pioneers such as Nelson Pereira dos Santos, Glauber Rocha, Joaquim Pedro de Andrade, Ruy Guerra, and Cacá Diegues continue to shape Brazilian cinema. Among them, Antônio Pitanga stands out on screens. Recognized for his long-standing career in Brazilian dramaturgy, Pitanga portrays characters who challenge systems of social and racial oppression. Born in Pelourinho to a humble family, he engaged in various jobs before becoming an active figure in Salvador's 1960s cultural movement, participating in films and plays with questioning characters. His bold interpretations, investing in bodily movements, mark a distinct presence in modern Brazilian acting. Amidst the military dictatorship, Pitanga embarked on a two-year self-exile journey through African countries, seeking his ancestry. Returning to Brazil, he contributed to television telenovelas and directed cinema. His pivotal role came in 1961 when he starred in "Barravento," Glauber Rocha's first feature film—a milestone in Cinema Novo. Pitanga's collaboration with Cacá Diegues further solidified his impact. He played a crucial role in shaping the identity of a nation, Brazil is the country with more Blacks outside the African continent, paving the way for generations of Black Brazilians seeking direction and instilling a sense of pride and identity. In a country where socioeconomic inequality and poverty have colour, Pitanga's legacy paved the way for a generation of black excellence, epitomized by actors like Lázaro Ramos.
While Cinema Novo holds undeniable importance for Brazil, it also perpetuates and reinforces stereotypical perceptions of the country among foreigners. This includes the narrow view that Brazil is solely defined by Rio de Janeiro, favelas, violence, and danger.
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