As a new restoration of Glauber Rocha’s seminal classic Black God White Devil enters the Criterion collection, we look back at Cinema Novo.
Heat takes no prisoners. This universal truth is as veracious in the unairconditioned Boston apartment from which I write this in the dead of summer, as it is in the Brazilian sertão wheretakes place. Or perhaps I exaggerate my own plight by comparing it to that of the characters in filmmaker Glauber Rocha’s seminal classic, whose new 4K restoration hits shelves today courtesy of the.
Without revealing too many specifics, the protagonists’ fate at the end of the film remains undetermined, with Manoel and Rosa once again on the lam as the promise of prosperity fails to materialize for them.is notable for many reasons, not least its presence in the country’s Cinema Novo movement.
“The hunger of Latin America is not simply an alarming symptom: it is the essence of our society,” he wrote. “There resides the tragic originality of Cinema Novo in relation to world cinema. Our originality is our hunger and our greatest misery is that this hunger is felt but not intellectually understood.”
Sebastião and Corisco represent dead-end ideologies that further oppress our increasingly fanatical protagonist, the same way populist figures have always manipulated desperate masses in real life.isn’t the only film by Rocha to form a scalding indictment of classism and inequality while also tackling themes like authoritarianism, ideological purity and political fanaticism with honesty and nuance. Less than a month before’s Cannes premiere, a U.S.
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