Rogério Sganzerla was born in 1946 in the town of Joaçaba, in the southern Brazilian state of Santa Catarina. Between 1964 and 1965 he wrote film critiques for the cultural supplement of the newspaper “O Estado de São Paulo” and for other newspapers. In 1967, he collaborated with Andréa Tonacci on his first film, the short film Documentário. He directed his first full-length film in São Paulo in 1968, O Bandido da Luz Vermelha, which caused a scandal and led to his clamorous break with Cinema Novo. He defined the outlines of Cinema Marginal, or “udigrudi” (according to a denigrating definition by Glauber Rocha), which weren’t recognized by its exponents, including the various “Paulist” filmmakers. Nor was it recognized by Julio Bressane, who had become a friend of Sganzerla’s in those years. During those years he was also exchanging ideas with Augusto De Campos, the famous exponent of Brazilian poesia concreta, and with the exponents of Tropicalism. In 1969 he directed A Mulher de Todos… read more
A constant theme in his filmography, the artist as a central piece is a tool conceived to discover life and the world beneath him. This is not a film about Welles' visit to Brazil in 1942, is a film about Brazil being witnessed by a foreign eye. A "documentary" featuring an Eisenstein-Godardian rhythmic montage and a wide array of aesthetical references, this is still an underseen and underappreciated masterpiece.