Bressane’s first color film, shot in the home of the artist Elyseu Visconti. Part of it is missing sound and final editing because the director was forced to leave Brazil. Horror and humor to deal with the subject of insanity: “In the end everyone leaves the house as though they were laboratory mice escaping, they invade the city and contaminate the world”. “If we talk about horror, this film deals with national horror, with Mojica Marins as an emblem. There might be a few touches of Corman and English horror, but it is another level of horror. What transformed the film was the location where we were shooting, the house of a 19th century painter, a receptacle of light. When I arrived and saw that house, that light, I said: èThis is the film. This is the horror’. The meaning of the film, its appeal, derives from this laboratory of light” (J. Bressane). —torinofilmfest
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