Ozualdo Candeias has the distinction of being one of the few filmmakers to come to the craft from truck driving! Making his first feature at age forty-five, this self-taught “primitive” impressed his colleagues as the most marginal of the marginal. The film became the first in the Udigrudi (Underground) movement, the marginal Cinema Novo or the revolution within the revolution. Set among the slum dwellers along the banks of São Paulo’s Tietê river—even then, extremely polluted—the film tells two surreally tragic tales of love with few words and a torrent of images. “A Margem unpretentiously communicates a feeling of rare poetry and subdued audacity. Its subtle modulation of fantasy and realism recalls the Vigo of L’Atalante… The film literalizes the metaphor of ‘garbage aesthetic,’ eliciting flowers from evil and stealing beauty from squalor.” (Robert Stam) —brazzil.com
Ozualdo Ribeiro Candeias (Cajobi, November 5, 1918 – Sao Paulo, February 8, 2007) was a Brazilian filmmaker, a pioneer of the Brazilian marginal cinema.
From humble origins, Ozualdo was a soldier and truck driver before starting his film career in 1955 with the short film Tambau-Cidade dos Milagres, which already had elements common to his work like irony and provocation.
His masterpiece was A Margem, 1967, which paved the way for the movement of the marginal cinema, with the names like Ozualdo, João Silvério Trevisan, Júlio Bressane and Rogério Sganzerla, Andrea Tonacci, among others. In 1968, he produced the film Zé do Caixão: O Acordo, a segment of José Mojica Marins’ Trilogia de Terror. Still with Mojica, he co-directed Ritual dos Sádicos, produced in 1969 but only released in 1982 by the Censorship. His last film was O Vigilante (1992).
Averse to interviews, the filmmaker’s last appearance was in the video… read more
Coverage from Rotterdam’s retrospective The Mouth of Garbage, on Brazil’s “successful avant-garde” of popular cinema.
A roundup of reviews, impressions and more from this year’s edition.
The Boca do Lixo district of the Brazilian metropolis was a hotbed of low budget creativity in the 60s, 70s and 80s.