In the dark days of December 1968, Brazil’s military government decreed the Fifth Institutional Act, a law that effectively suspended all civil liberties. A movement emerged among young filmmakers, variously called “underground” or “marginal” cinema, which confronted the strict censorship of the dictatorship by creating works wildly anarchic in form and subject—works that flirted at times with incoherence. One of the first and most influential of these films, Killed the Family and Went to the Movies, was made by a 23-year-old Júlio Bressane.
A 30-year-old man performs the titular acts. At the cinema, he sees a film called Lost in Love about two women drifting into a lesbian relationship. Sometimes the man projects himself into the movie. Other times the scene changes to a torture chamber, where the man is being interrogated. Outrageous and consistently inventive, Killed the Family combines shards of stories that together offer an unsettling portrait of a country living in fear and aching for release. —Film Society of Lincoln Center
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
Desconcertante é um bom adjetivo pra "Matou a família e foi ao cinema"- Bressane no seu 3º filme e em 'puríssima' versão marginal em 69. O "filme dentro do filme" guia o espectador a (re)montar a narrativa com os pedaços - cenas, esquetes - que vão sendo revelados. Lesbianismo juvenil, assassinatos, uma trilha sonora inesperada e a ótima direção fazem do filme um retrato cruel, surreal e único no cinema brasileiro.