The landscape of a renovated modern Brazilian cinema (known as Cinema Novo), had its court of renowned saints: Glauber Rocha, Nelson Pereira dos Santos, Ruy Guerra, Joaquim Pedro Andrade, Carlos Diegues, Leon Hirzman and others. A rich court indeed, it had already manifested in the 60s the high profile artistic offer of the tropicalismo country. However, little is widespread of what followed this star-studded generation, toward the end of the decade and in a climate of brutal repression – an emblematic style of filmmaking that, homogenous to what was happening in North America, came to be known as “udigrudi” or “Cinema Marginal.” This radical context produced films, which were as noteworthy as they were hard to come by: O bandido da luz vermelha (Rogério Sganzerla, 1968), O anjo nasceu and Matou a familia e foi ao cinema (Júlio Bressane, 1969), Bang-bang (Andrea Tonacci, 1971) and A margem (Ozualdo Candeias, 1967).
With a career that keeps to margins and borders, Júlio Bressane… read more
LA FURIA UMANA, n. 11 out now http://www.lafuriaumana.it/ Focus on Julio Bressane.
Saw him today in the flesh and he looks a lot like a middle-aged Ben Gazzara, does he not? He speaks so softly and slowly...really cool director