New Brazilian Film Explores 1970s Dictatorship
Director Kleber Mendonça Filho’s latest film delves into the Brazilian dictatorship of the 1970s, merging vibrant visuals with complex urban narratives, quirky humor, and an air of mystical suspense. It’s reminiscent of Walter Sales’s “I’m Still Here,” touching on the everyday grim realities of political oppression, but with greater ambition and intricate depth. Throughout the film, I found myself linking it to various influences—from Sergio Leone’s storytelling to Antonioni’s edgy narratives, and even the gritty styles of Elmore Leonard paired with the tone of “City of God” and the whimsical flair of Alfonso Cuaron.
Wagner Mula portrays Marcelo, a man on the run, zipping around in a bright yellow VW Beetle that draws the attention of local corrupt officers. Marcelo is a widower, solely responsible for his young son, now living with his late wife’s parents. His stepfather manages a cinema showcasing films featuring Jean Paul Belmond. While Marcelo isn’t exactly a rebel or a political activist, he feels compelled to flee Brazil with his child. However, his past complicates things. Once an academic in engineering, he discovered that a minister with business interests was shutting down his university division, planning to funnel all research into a private company in which the minister had stakes. This lead to a confrontation that resulted in the minister hiring hitmen, forcing Marcelo into hiding from the secret police.
Amidst this chaos, Marcelo finds solace in a clandestine resistance group, cared for by the charismatic Donna Sebaschana, portrayed excellently by Tania Maria. They ironically offer him a job within the very government department he aims to escape, dealing with ID cards related to his current false identity.
On a personal quest, Marcelo seeks information about his deceased mother from the Archives Department. He also connects with a fellow officer, Roberio Digenes, intertwined in the local obsession with sharks following the release of “Jaws.” The community buzzes with rumors after a shark is found with a human foot in its stomach, heightening the tension and absurdity of the situation. The film cleverly transforms political violence into a dark comedy interlaced with surreal elements.
Visually striking and emotionally resonant, the film moves at a leisurely pace, allowing audiences to absorb every comedic twist and sensual encounter before it builds up to an intense conclusion—complete with unexpected cameos. Unlike traditional thrillers, it subverts expectations, presenting a multifaceted narrative that not only showcases Maura’s complex and relatable performances but also stands as an engaging piece of exploratory filmmaking.
A secret agent screening occurred at the Cannes Film Festival.
