Following hot on the heels of the success of Black God, White Devil comes the second film in Brazilian director Glauber Rocha’s famous trilogy; Terra Em Transe (Entranced Earth), a bold, confrontational, vibrant picture that stands as one of the greatest pieces of work from the director widely considered to be the leader of Brazil’s Cinema Novo movement. In the hypothetical Latin-American country of Eldorado, the idealistic and anarchist poet and journalist Paulo Martins (Jardel Filho) fights against the populist governor, Felipe Vieira (José Lewgoy), and the conservative president Porfirio Diaz (Paulo Autran), supported by revolutionary forces.
Paulo is depressed, since the two corrupt politicians were his former friends and have been elected with his moral support. Paulo Martins opposes the two equally corrupt political candidates. Paulo is torn between the madness of the elite and the blind submission of the masses. The film is told in flashback in an inspiring mixture of Villa Lobos, cinema verite and Afro Brazilian candomble.
“I’m very famous and pretty poor,” this ironic self-description is an effective summation of the rise and fall of Glauber Rocha. He was the most vocal and flamboyant exponent of Brazil’s Cinema Novo movement, which registered a powerful impact on 60s cinema. Its influence extended from Werner Herzog to Martin Scorsese, Jonathan Demme, Bernardo Bertolucci, Amos Gitai and Jean-Luc Godard (who would cast Rocha as an actor in his Le Vent d’est). Rocha’s films would become rare objects when the zeitgeist of the mid-60s receded and his career would struggle after his self-exile from Brazil following its decline into dictatorship. His early death at the age of 42 left behind a body of work that ranks among the most adventurous in film history.
Glauber Rocha was born in Bahia, a region situated in the Northeastern region of Brazil. The landscape of this region and its unique culture bore an early influence on Rocha. In his career as a journalist and film critic, he would polemicize a… read more
An eclectic film that reminds one of Last Year at Marienbad with its treatment of temporal and spatial changes, or of Godard with it's editing style.Entranced Earth freely intertwines different almost-surreal sequences that help creating one of the most memorable,honest and universal depictions of the corrupt and perhaps hopeless political landscape in which we invariably find ourselves. As true today as it was then.