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In recent years, Brazilian cinema has caused a sensation at the Cannes Film Festival, one of the most prestigious in the world. Many observers will remember the troupe and the nominated drama team Aquarius use the red carpet to protest against the dismissal of Dilma Rousseff – denouncing to the international media what they thought was a coup d'etat ongoing in Brazil. But political protests are far from being the only reason why movie critics are taking a closer look at the country – as has shown this year.
The Brazilian photo The invisible life of Euridice Gusmão snatched the first prize at the In some perspective exhibition: part of the official selection of the festival, parallel to the contest of the Palme d & 8217; The drama of Karim Ainouz was considered "very moving, articulated with the greatest sincerity and an intoxicating stylistic excess," according to Variety. The film tells a heartbreaking story of two sisters separated for decades by family shame and deception.
The price comes 17 years after the remarkable debut of Mr. Ainouz Madam Satã– also in the context of In some perspective exposure. The film was intended not only to launch the international career of the director, but also to shatter the actor Lázaro Ramos, currently one of the most acclaimed performers in Brazil, and to rediscover in Brazil that of Rio de Janeiro. ; s most emblematic characters. Madame Satã was a dark and emblematic figure of the city's bohemian life – commemorated as a person who fought the stigma of the son of slaves, illiterates and homobaduals.
But The invisible life of Euridice Gusmão was not the only Brazilian competitor to win this year's edition of the Cannes Film Festival. Bacurau, from Kleber Mendonça Filho and Juliano Dornelles, has been seen awarding the Jury Prize, which he shared with Ladj Di's. s Wretched. Just as Mr. Mendonça was critically acclaimed Neighboring sounds and Aquarius, Bacurau tells the story of a brazilian community that fights to defend itself from the destructive force of modernity.
This victory makes Mr. Mendonça the biggest name of Brazilian cinema in the world and also represents a rare victory of the Brazilian cinema in the official prices of Cannes.
Brazil was also present at the Cannes Film Festival as co-producers of The traitorof Italian director Marco Bellocchio (nominated at the Palme d'Or), and American films Port Authority, by Danielle Lessovitz, and Robert Eggers & # 8217; Lighthouse.
International acclamation
This year's victorious trip to Cannes continues on a positive note for Brazilian cinema. In 2018 and 2019, no less than 12 Brazilian productions have been selected for the Berlin Film Festival. This time there were 11 feature films and a short film.
In 2018, Brazil was at the center of the Annecy Animation Film Festival, being named the nation of honor of the event. At the time, Marcel Jean, director of the festival, justified his choice. & # 8220; We want to show how this major territory is a powerful source of creativity, and how Brazilian animators have penetrated the depths of these waters to create an unusual and striking expression. "
Last year, the country was also invited for the first time to the famous Sundance Festival, with two films of its own. It is arguably the most prestigious independent film award in the world. Loveling and Rust were selected to compete in the World Cinema Dramatic Competition, alongside titles from China, Denmark, Turkey and the United Kingdom.
Not yet Oscar
Brazilian films have, however, been neglected by the Academy of Motion Picture Arts and Sciences. It does not happen every year, but every time a Brazilian film manages to win an Oscar nomination, everyone has high hopes of victory. A collective anxiety reigns in the weeks leading up to the ceremony, with millions of people watching late to watch the opening of envelopes – a pursuit that invariably ends in disappointment.
Most of the nominations are in the best foreign language category. Some do not have a chance, such as Four days in September, a 1997 thriller about the actual kidnapping of an American ambbadador to Brazil in 1969. Although the movie itself is not to blame, its plot was not exactly a ploy for Oscar.
In recent memory, however, there have been two moments when Brazil's Oscars defeats have really stung. At the Oscars 1999, the drama Central Station received two nominations: Best Foreign Language Film and Best Actress, for national diva Fernanda Montenegro.
The first blow came when Sophia Loren, who announced the winner in a foreign language, simply shouted "Roberto! In 1998, CNN critic Paul Tatara m said: "The fact that [Benigni] play each scene as if it were a very strong mime, it's serious enough, but there is a clear phonicity in the procedure that overturns the entire movie. "
Fernanda Montenegro lost the Oscar for best actress against Gwyneth Paltrow, considered one of the cases less deserving victories all time.
Uncertainty announces
According to the Cinema do Brasil Association, the recent success is due to a successful financing model, which combines incentives for private investors with public funds. A fund for audiovisual productions, created at the beginning of the century, gave stability to the Brazilian film industry and enabled local filmmakers creativity flourishes.
However, the Brazilian Film Agency goes through a moment of uncertainty. At the end of March, the Federal Audit Office (an audit court overseeing public spending) identified a series of problems with the agency's accounting records. In April, the director-in-office, Christian de Castro, decided to suspend all financing of films and series, thus interrupting the films in production.
On May 27, the agency announced the resumption of its activities.
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