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Brazilian Cinema

Brazil's cinema is one of the most important on the Latin American continent and has had a changeful time - in 2020 it will again experience a shock with an enemy of humanism and culture at the head of the state. It caused the most sensation in the early 1960s, when the so-called Cinema Novo became groundbreaking not only for its own country: the preservation of independence seemed possible, and resistance to the imperialist Hollywood seemed successful. The great films of a Glauber Rocha (Terra em transe, Barravento) still look like a single outcry against the injustice of the world today. In Brazil, the fight against standard cinema was declared, and from here the fire ignited the continent. In recent years, Brazil's cinema has been self-confident and has repeatedly presented surprising films that take pleasure in playing with realities and levels of perception. The most recent example is the moving journey through time "The Invisible Life of Euridice Gusmao".

Los silencios (2018)
Beatriz Seigner
Brazil
90′
Nuria, 12, Fabio, 9, and their mother Amparo arrive in a small island in the middle of Amazonia, at the border of Brazil, Colombia and Peru. They ran away from the Colombian armed conflict in which their father disappeared. One day, he reappears in their new house. The family is haunted by this strange secret and discovers the island is peopled with ghosts.
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Terra em transe - Land Entranced (1967)
Glauber Rocha
Brazil
108′
El Dorado, a fictional country. Paulo, a poetry-writing intellectual, oscillates between the political extremes. First he devotes himself to the right-wing conservative Diaz, until he sees through the latter’s pseudo-religious fascism. Then he takes the side of Vieira, the populist reformer who wants to free the country of its misery. But Paulo’s true love is for Sara, the communist who works for Vieira. Paulo is forced to realize that both are interested only in power, not in change, and that they are willing to use any means to achieve their end. Disappointed and despairing, he sets off on his own path as a revolutionary, a path on which Sara is no longer able to follow him. He is shot and dies a lonely death, with a gun in his hand, sending a signal for others to take up arms. The lasting relevance of this masterpiece lies in the scene of long agony before Paulo dies. Sara calls out the question to him, “What does your death prove?” And he answers, “The victory of beauty and justice!” Glauber Rocha trusts in culture’s power of survival and connects it with the necessary struggle for social justice.
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