Brazilian filmography: an European perspective.

You will find a comment made by a Norwegian movie collector below. It was a comment made on our post Brazilian Filmography (May 12th). I decided to place it as a post as it is an insightful mirror of our movies from a foreigner point of vue.


Hello from Norway,

I read your list of Brazilian movies with great interest. As a collector of movies from all continents of the world, I have also gathered some from your country. But living in Norway, it is not easy to get relevant information about what is produced. Some very few are shown at the cinema here – or on our national TV channels. Nevertheless, I try to learn more from internet, and from my few friends in Brazil. Therefore, my comments to your list must clearly be judged as an outsider’s look:

The 60s: My first meeting with the cinema of your country was through the movies of the great Glauber Rocha. It was a breathtaking experience. I have 3 of his films in my collection, that you also mention: Deus E O Diabo Na Terra Do Sol (1964), Terra Em Transe (1966) and O Dragao Da Maldade Contra Santo Guerreiro (1969).

The 70s: Unfortunately, this is a blank decade in my collection.

The 80s: My rediscovery of the Brazilian movie, is due to Hector Babenco and his movies Pixote: A Lei Do Mais Fraco (1981) and O Beijo Da Mulher Aranha (1985). Later he went to New York to make Ironweed (1987).

The 90s: For me this was the decade I got to know Walter Salles and his movies: Terra Estrangeira (1996) and his famous Central Do Brasil (1998).

My Brazilian movies from after millenium: Walter Salles: Abril Despedacado (2001), Diarios De Motocicleta (2003) and Dark Water (2005 – filmed in Los Angeles), Fernando Meirelles: Cidade De Deus (2002) and Constant Gardener (2005 – filmed in Berlin), Karim Aïnouz: Madame Satã (2002), Sergio Machado: Cidade Baixa (2005) and Andrucha Waddington: Casa De Areia (2005).

I am aware that these movies are amongst the most published and marketed internationally and that they might not be representative of Brazilian filmmaking as such. This is why I like to learn more, also from other parts of your film industry. My problem is only that I need english subtitles, since I still have not learned the portuguese language…

I am glad to receive some comments…

Henning Jacobsen, Oslo, Norway

Our comments:

During the 70s, Brazil movies faced a strong censorship on art production in general (caused by military dictatorship) and a large incentive to foreigner movies.The fresh air came with Dona Flor e Seus Dois Maridos (Bruno Barreto) despite suffering a strong censorship too.

In the beginning of the 80s, you must consider also Eu Te Amo (Arnaldo Jabor), another good movie that surprised people with its quality and casting performance: Sonia Braga, Vera Fischer and Tarcisio Meira.

You really have to add O Quatrilho (Fabio Barreto, and brother of Bruno Barreto) in your list of the 90s. It is a delicious movie on a special phase our country lived, divided among foreign influence of immigrants (Italians, germans etc) and also tighted to the Portuguese influence (moral, religion and so on). Watch this one for me, my friend.

Walter Salles, on the other hand, was the good thing from the 90s, as you have noticed. Central do Brasil, launched in 1998 had a nominee to Oscar prize and although not conquering it, it has received important prizes as Urso de Prata (Berlin), Bafta and Globo de Ouro.

I would add Tropa de Elite for this after millennium period but I must outline that you have an excellent vision of Brazilian filmography. My heart is full of joy for the information we have shared here. Thank you for your comments that I had to transform in this new post on the subject, for its quality and unique approach.

Obs. Se desejar a tradução deste post, envie-nos um email.


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