Showing posts with label Brazil. Show all posts
Showing posts with label Brazil. Show all posts

Friday, July 14, 2023

The Territory: The Battle to Save the Amazon Has Just Begun

By José Alberto Hermosillo

“The Territory” is a bold, award-winning documentary that bravely reveals the mystery behind the fires in the Amazon rainforest.

 

In 2019, many believed the destruction of the Amazon rainforest was caused by natural factors, such as dry seasons, as well as by climate change. However, behind those fires and deforestation were individuals in power—landowners, multinational corporations, and dangerous men with guns—who sought to take the land that had long belonged to the indigenous people of Brazil.

 

Intentional Fires in the Amazon, The Territory, Copyright © National Geographic 2022


During his political campaign, the Bolsonaro regime started hate speech against Brazil’s indigenous people: “There won’t be getting one more inch of the indigenous reserve land.” When the populist candidate won the presidency, his government did nothing to protect the land, the natives, the flora and fauna, and the endangered species.

 

The original story was revealed when Neidinha Bandeira, a forest defender and activist, received enough hate mail, death threats, and a kidnapping attempt, prompting her to send an urgent message about her safety and the area’s security to journalists around the world.

 

Director Alex Pritz, producer Gabriel Uchida & producer Sigrid Dyekjær. Photo by José Alberto Hermosillo.
Raleigh Studios, Hollywood.
Copyright © Festival in LA, 2022

In 2016, a friend of the award-winning Brazilian journalist and producer Gabriel Uchida advised him to cover and document the story of the fires and the full-scale warfare the natives endured to protect the rainforest. Since then, Gabriel has moved to Amazonian communities to continue his journalistic work and shed light on the reexamination of those tragic events.

Director Alex Pritz, producer Gabriel Uchida. Photo by José Alberto Hermosillo.
Raleigh Studios, Hollywood.
Copyright © Festival in LA, 2022

In New York, director Alex Pritz began conversations with elderly Indigenous people and, with their permission, documented their lives. Later, he became interested in filming Brazilian natives in their land. Their resilience, courage, and resistance motivated him to participate in the documentary.


Respectful of indigenous cultural identity, Alex Pritz avoided exploiting the natives’ land, culture, or language, recognizing that white settlers had taken so much from them, including their land. White people assumed ownership of the indigenous narrative and traditions.


The Territory, Copyright © National Geographic 2022

After a devastating fire, Neidinha questions the conscienceless actions of those who acted illegally and the massive environmental damage they have inflicted on humanity. She also requests safety for the Uru-eu-wau-wau people and wonders how many more must die to protect the rainforest.

 

Alex Pritz’s subtle camera work is outstanding. His footage ranges from tiny insects to aerial shots of the Amazon. He shares cinematography credits with an insider, Tangãi Uru-eu-wau-wau.

 

Alex Pritz reached out to the Invaders, comparing his personal experience and the white trespassers in Brazil with American colonialism, which often sees itself as heroic without understanding its actions.


It took three years to produce the documentary, and the challenges were significant. The crew often had to drive 6 to 12 hours to reach remote locations, especially during the rainy season.

 

Editor Carlos Rojas presents the film in a natural flow, allowing viewers to follow each character as their struggles and hopes unfold. The transitions are seamless. However, maintaining visual balance among all storylines is essential. The excess expository dialogue reduces the emotional impact of this already powerful film.

 

Katya Mihailova’s music is unforgettable. She exudes positivity, and her lively rhythms heighten tension during dangerous scenes. To showcase each character’s uniqueness, the composer gave each a distinct score, enhancing the sounds of the frontier and rainforest.

 

Renowned director Darren Aronofsky (“The Whale,” “Black Swan,” “The Wrestler”) also participated, along with Sigrid Dyekjær (“The Cave,” “Food and Country”) and Gabriel Uchida from the outstanding production team, providing full support and control to director Alex Pritz.


The Territory, Copyright © National Geographic 2022

Knowledge empowers people. Therefore, Amazonians must document every incursion, intentional fire, and attempt on their lives using cameras, drones, computers, and social media as tools against the invaders. Now, they can send the material directly to news broadcasters and engage more people in helping protect Brazil’s indigenous lands.

 

Director Alex Pritz, producer Gabriel Uchida, film critic José Alberto Hermosillo & producer Sigrid Dyekjær.
Raleigh Studios, Hollywood.
Copyright © Festival in LA, 2022

Fans of President Bolsonaro learned about the making of the film, how the documentary empowered native communities, wanted the filmmakers out of Brazil, and sent death threats to their phones, emails, and homes.

 

During its three-week theatrical run in Brazil, “The Territory” received a strong response from locals, with half of the audience coming from indigenous communities.


“The Territory” is a highly recommended documentary nominated for three Primetime Emmy Awards, including Exceptional Merit in Documentary Filmmaking, Outstanding Cinematography for a Nonfiction Program, and Outstanding Direction for a Documentary/Nonfiction Program. It is now streaming on Hulu.


The National Geographic/Brazilian co-production won the Audience Award and the Special Jury Award for Best Documentary at the 2022 Sundance Film Festival. It also received the Cinema for Peace Award and Best Documentary at the Zurich Film Festival.


The Territory | Official Trailer | National Geographic

Director Alex Pritz, producer Gabriel Uchida & film critic José Alberto Hermosillo.
Raleigh Studios, Hollywood.
Copyright © Festival in LA, 2022

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Monday, January 20, 2020

My Hindu Friend; Hector Babenco's Testament to Posterity

By José Alberto Hermosillo

“My Hindu Friend” is an elegant, cinematic celebration of life at the end of one man’s journey, with gratifying visuals. Hector Babenco’s last film is a conciliatory testament to his work, friends, and loved ones, marked by deep respect.

 

The insightful reflection on the life and death of one of the most beloved Brazilian-Argentinean directors is immersive and goes beyond the bounds of delirious reality.

 

Willem Dafoe’s performance is a tour de force. He portrays the director’s life, who is on an exceptional quest for redemption. If you thought Antonio Banderas’s Oscar-worthy characterization of Pedro Almodovar in “Pain and Glory” was remarkable, then Dafoe’s portrayal of Hector Babenco is equally fascinating and hypnotic.


My Hindu Friend, still photos courtesy of Rock Salt Releasing.

Without self-pity, Dafoe’s fictional character, Diego Fairman, is a conflicted, selfish filmmaker who blames others for things beyond his control – including his lymphatic cancer. 

 

In the urgency of a bone marrow transplant, his brother, Antonio (Guilherme Weber), is the only person nearby who is compatible.

 

Antonio feels that Diego blames him for their father’s death and the misuse of their family’s money. Far off, the brother becomes the medullary donor at a high cost.

 

The family liaisons don’t go well. In private, everyone feels betrayed. His surrounding friends also have problems dealing with the stressful situation of Diego undergoing surgery. The treatment will have an unknown outcome. 


“My Hindu Friend,” an original dark-comedy, lightens the awkward moments in Diego’s fight against cancer. Diego’s witty personality guides us to unexpected places. The performances and settings work together harmoniously, enhancing the film’s striking, pristine look.

My Hindu Friend, still photos courtesy of Rock Salt Releasing.

At the hospital, he meets compelling characters who will help Diego through his transitional stage, including a symbolic gatekeeper, death, and his new Hindu friend.

Every doctrine has different interpretations regarding the separation of the body and soul. For Diego, being Jewish is a confrontation between predetermined religious beliefs and his precepts.

Babenco’s last work vividly conveys a dying man’s experience. He wants another opportunity to make one more film and redeem himself. 

“My Hindu Friend” features an exquisite soundtrack composed by the extraordinary Polish musician Zbigniew Preisner, who worked closely with Krzysztof Kieslowski on “Three Colors: Blue, White, and Red” and “The Double Life of Verónique,” among other transcendental soundtracks. The recording was made in Austria by the Vienna Symphony.

My Hindu Friend, still photos courtesy of Rock Salt Releasing.

Born in Argentina and a naturalized Brazilian, Babenco is not afraid to talk about his active sexual life - he shows, without inhibition, the beauty of a woman’s naked body in a poetic form.

 

Babenco brings his personal experiences to the big screen with a high degree of mastery, in a very intimate atmosphere, conveyed through his minimalist settings. 


Babenco’s filmography includes his Oscar-winning masterwork, “Kiss of the Spider Woman.” He directed several influential Brazilian projects, including “Pixote,” “Carandidu,” and “El Pasado.” “Before Night Falls” and “A Play in the Fields of the Lord” marked his return to Hollywood.

 

“My Hindu Friend” contains references to “Pixote,” which follows a child grappling with drugs and prostitution in the streets of São Paulo in the late 1970s. Both films explore loneliness, despair, and dehumanization in society.

 

The character-driven, linear, semi-autobiographical piece evokes paradoxical emotions in the viewer. It also transcends the legacy of a director who is no longer with us, even though his work remains a fundamental part of world cinema.

 

“My Hindu Friend” is an essential, spiritually meaningful, and well-balanced work of art, ready to be discovered by viewers who appreciate excellence in cinema.

 

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Tuesday, December 31, 2019

Invisible Life: Melodrama is Not Dead In Brazilian Cinema

By José Alberto Hermosillo

“Invisible Life” is a nostalgic, affectionate, and well-crafted masterpiece.

The Brazilian/German co-production is a profound and artistic adaptation of Martha Batalha’s novel “A Vida Invisível de Eurídice Gusmăo,” depicting the lives of two sisters growing up in Brazil and their tortuous separation by their conservative parents in the 1950s - Eurídice (Carol Duarte), the extraordinary pianist/aspiring soloist; Guida (Julia Stocker), yearning to be a devoted housewife.

Invisible Life, still photo ©2019 Amazon Original.

A series of unfortunate events will determine the fate of the Gusmăo sisters. The pre-established authoritarian male structure of that time caused their dear separation.

Life sets them apart, but their hearts remain together through the illusion of writing to each other. Those undelivered letters sustain the melodrama's tightness till the end, like a thread in a very well-structured film.

Furthermore, in the story, the parents force Euricide to marry a man who doesn’t care for her vocation. Eurídice’s strain continues to rehearse and improve herself for the long-awaited audition. 

Guida returns to her parents’ house with her broken dreams and an advanced pregnancy, forcing her to live in the streets.

At that time, women couldn’t aspire for higher education or better-paying jobs in their society, and Sexism suppressed many women’s dreams, goals, and desires.

The sisters’ experience can be compared to our mother's and grandmother's lives, which didn’t have the opportunities they deserved. They could be famous if they were only allowed to fulfill their dreams. 

“Invisible Life” is a well-told family melodrama with social and political substance, transcending to our days in defense of women’s emancipation, if we can read between the lines.

Karim Aïnouz in Los Angeles
Karim Aïnouz, director of "Invisible Life." Photo Jose Alberto Hermosillo ©2019 Festival in LA
 
Director Karim Aïnouz (“Madame Satã,” “Futuro Beach”) made a risky decision to adapt the novel to the big screen with delicacy and mastery.

Born in Fortaleza, Brazil, Aïnouz was inspired in part by the courage and spirit of his single mother’s survival.

After a private screening in Hollywood, Aïnouz was questioned by viewers about altering the novel’s ending. He said adapting the book's conclusion to the screen took over a year. The film's end rightfully complements the entire story, making it more poetic and cinematic. The writer’s team includes Murilo Houser and Inés Botargaray in the credits.

Invisible Life, still photo ©2019 Amazon Original.

In charge of the film's lavish look is cinematographer Hélène Louvart. The talented DP worked in other relevant movies around the globe, such as “Happy as Lazzaro” in Italy, “Maya” in France and India, “Petra” in Spain, “Dark Night” in Florida, “Beach Rats” in New York, and now “Invisible Life” in Brazil.

With many colors and elaborate set compositions, “Invisible Life” is a tropical allegory full of liveliness, heartening emotions, and plenty of nostalgia. It is a story about women with broken wings longing for the lives they could have.

The film’s editing elongates the story's flow and can be confusing if we don’t follow the family tree carefully. Still, the project is enjoyable, regardless of other criticism and respectable points of view.


“Invisible Life” can be compared with other compelling and classic melodramas such as the Best Picture winner “Rebecca” by Alfred Hitchcock, “Imitation of Life” by Douglas Sirk, “Like Water for Chocolate” by Alfonso Arau, and “All About My Mother” by Pedro Almodóvar.

Invisible Life, Italian poster.

“Invisible Life” inspires women to break barriers and close the gender gap in an optimistic sense. 

The Brazilian melodrama won Un Certain Regard at Cannes 2019, the CineCoPro Award at the Munich Film Festival, and was nominated for an Independent Spirit Award.

The timing of this engaging melodrama couldn’t be any better, as we see today’s women pushing back against barriers that limited previous generations from accomplishing their goals and reaching for more opportunities, leaving behind the oppressive world, remarkably and exquisitely depicted in “Invisible Life.”

Film critic José Alberto Hermosillo & director Karim Aïnouz
Jose Alberto Hermosillo, film critic. Karim Aïnouz, director of "Invisible Life." ©2019 Festival in LA


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