CINEMA NOVO part I
Doors open: 20h15
IN 1968, Jean-Luc Godard was about to give up mainstream filmmaking, and
become an even more militant figure with his Dziga Vertov group. But
while he moved over into obscurity, a new generation of filmmakers
worldwide were using Godard’s techniques to challenge institutions that
were arguably more overbearing than the ones Godard was railing against.
20h30, Brazil 1969, 104min, with english subs
Macunaima
is Monty Python meets Jodorowsky and Robert Downey Sr. in a pool of
piranhas. A full-grown black man, a " Brazillian hero", is birthed from a
white woman in drag in the middle of the jungle. He discovers a magical
water fountain that turns him white. He moves to the city, falls in
love with a bomb bearing urban radical activist who wears a magic stone
necklace that brings good luck. The magic necklace is stolen by a by an
evil corporate cannibalistic millionaire. This causes a bomb to kill his
wife and son (done in such a cartoonish way that it is all the more
ridiculous). At this, Macunaima is plagued with bad luck through many of
his misadventures and wants to get back the necklace from the evil
corporate honcho.
Part social satire, part serious political commentary
set in a folklore steeped surreal Brazil. Based on the 1928 novel by
Mario De Andrade that is considered on of the founding texts of
Brazilian modernism; and the film itself is widely considered one of the
most important films of the Brazilian Cinema Novo. But if you forget
all the academics, it's a wild, weird, colorful, magical, surreal
wonder-work with endless memorable moments, such as: a defecating goose,
a pool of piranhas in which people swing above on a trapeze until they
fall in, a water nymph and much more!! Who can forget such brilliant one
liners such as "God gives nuts to those with no teeth". This film is a
must see! One of the funniest films of any country! An underrated gem!
22h15: Brazil 1968, 92 min, with english subs
, Red Light Bandit was
made under highly oppressive conditions – it was at the cusp of
increasing repressiveness in Brazil (under the AI5, a government decree
that curbed political freedom) and many artists were forced to either
renounce their previous opposition or go underground and making highly
symbolic and coded films.
The film is directed by Rogério Sganzerla, an obscure name in the West,
but one who is gaining more and more popularity. His reputation is
intact in Brazil, but his films are near impossible to source overseas.
Red Light Bandit was the twenty-three year old director’s debut, and
starred his soon to be wife, the legendary Helena Ignez. The film
certainly feels like Godard – there are clear homages to Pierrot le Feu
and A Bout de Souffle in particular, and a clear anti-authoritarian
streak. It also has same schizophrenic feel of the early work of
Yugoslavian Dusan Makavejev (eg The Switchboard Operator) with crazy
collages of news, multi-narratives, and manic montage. It also seems
natural that a director would attempt to confound potential censors
(like Makavejev and his fellow Black Wave filmmakers) with highly
symbolic, yet deeply anti-authoritarian films. This film’s huge success
in Brazil, suggests in part, that it was successful at capturing this
spirit.
The film looks at an infamous criminal – the Red Light Bandit – who
breaks into houses and rapes the women. As the police try and track him
down, the media hype his story up and he eventually becomes a cult
figure used by everyone from corrupt politicians to his girlfriend. The
crimes committed by the Red Light Bandit are shocking themselves, but
Sganzerla put these crimes within the context of the actions of the
politicians and the police, and in the process, shows a highly corrupt
and brutal Brazil. This is certainly angry stuff, but this film is also
frequently hilarious. The voiceovers argue with each other, and random
interludes (such as the UFO sequence) get chucked in. But is the tone of
desperation that sticks with you in this film – this is the portrayal
of a society that is slowly descending into repression and despair.
What’s also disturbing is that this film also seems to tap into a
contemporary society – and consequently, extends its reach far beyond
the borders of Brazil.
(BRANNAVAN GNANALINGAM reports from the Wellington Film Society. This week: a girl and a gun.)
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