“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
So I came into this expecting a cold, cerebral art film that everyone liked for theoretical reasons and not personal reasons. Damn, was I blown away. Rocha melts together communism, Christianity, and Brazilian culture to make a convention-shattering masterpiece that will fascinate you with the new ground it breaks in politics, theology and cinematic narrative. Absolutely worth your time if you can track down a copy.
One of the most beautiful avant-garde films I have seen. A subversive visual poetry with a strange and staggered mise-en-scene design: absurd and anthropological. A well-design and well-orchestrated assimilation of visual and auditory rhetorics on the hypocrisy of Christianity, international politics and capitalism.A must-see for avant-garde and political film enthusiasts, such a tour-de-force, it rips my brain off