HOME is an arts venue that now combines cinema with theatre, art and a range of performance events including music. HOME ‘seasons’ can be weekenders, single days or months or longer periods and often they attempt to bring together all the art form possibilities. The Brazilian Weekender discussed here over the last week actually comprised five film screenings – I was unable to attend the opening screening of Boi Neon (Neon Bull, 2015) showing second house on the Thursday evening. I’m sorry I missed it as it sounds as if it would make an interesting contrast and complement to the mainly female-focused films over the weekend. The film programme also included a ‘Portuguese Language Taster Event’ – matching the Spanish language conversation sessions offered during the ¡Viva! Film Festivals at HOME.
The Weekender was also linked to a major new Art Exhibition, ‘Behind the Sun’ which opened on the Saturday. This was launched with a celebration on the Friday evening with music from Manchester band Riot Jazz and DJs plus an outdoor barbecue (presumably on the artificial turf outside). On the Saturday 20th August there will be a free 1 hour theatre performance by Tiago Cadet taking the audience on “an exploration of representations of the human body throughout history, looking at the construction and invention of Brazil and what it is to be Brazilian”.
The film programme times meant that I did have an opportunity to look at the new exhibition. There were previously galleries in the former Cornerhouse building but for cinemagoers it was easy to forget that they were there on the upper floors. At HOME, the new galleries are easily accessible (more so than the cinemas and theatres) being situated just off the main foyer of the building. There are five light and airy gallery spaces, two of which were darkened for video installations for ‘Behind the Sun’. The exhibition comprises the work of five artists selected from an original 600 and a shortlist of 30 representing the different regions of Brazil. This Manchester exhibition is a partnership with Manchester School of Art, in conjunction with Instituto Plano Cultural, Brazil. It represents work for the Marcantônio Vilaça Award. The exhibition is curated by Marcus de Lontra Costa.
What can I say about the exhibition? I couldn’t join the informal tour led by someone from HOME’s Visual Arts team as it ran earlier in the day when a film was showing. There is another tour on Saturday 3rd September. I think I would have benefited from an introduction. HOME provides a short print guide but I didn’t find that enough to help me to get to grips with the exhibition. I like some aspects of contemporary art but much of it leaves me cold. I inevitably retreat to the video installations, but even then I don’t feel comfortable. The most accessible material here is perhaps the video work of Berna Reale who comes from Belém, the city that acts as the ‘gateway’ to the Amazon. Reale tends towards socio-political statements articulated through specific characters (herself or ‘willing participants’) presented as alien or ‘out of context’ in her otherwise documentary photographs and video pieces. Images from her piece Cantando na Chuva (Singing in the Rain) 2014 (see image above) are used to illustrate the whole exhibition. Reale’s aim is to use these dramatic juxtapositions to underline the disparities in Brazilian economic and social life. Or at least that’s how I saw them. I didn’t get the statements in the exhibition guide which refer to a “defeated humanity” and a “pathetic look at the wreckage of a civilisation”. All the same I did find these short films to be provocative and stimulating.
I realise that I’m not equipped to discuss the exhibitions at HOME. Perhaps making an attempt is a good way of addressing any complacency I have about my familiar cinema experiences. I confess that I would rather have seen Berna Reale’s work on a big screen in a cinema – and projected at a higher resolution. It isn’t the same experience sitting on a bench in a darkened gallery with an open door through which others may come and go as the short films run on a continuous loop. The exhibition demands time and I’ll have to return and try to make more sense of what I see. The HOME website does offer more insights here, including access to the printed guide above.
The Weekender was staged at this time for two reasons I think. The timing is obviously important to tie in with the Rio Olympics, but it is also useful in exploring the potential for a more regular Brazilian strand within future ¡Viva! Festivals. ¡Viva! is a festival of Spanish and Latin American Film. Brazilian cinema is both distinctive, partly because of language, and also part of wider Latin American trends. I’d certainly like to see Brazilian films in their broader context. Logically, it would also be useful to include Portuguese films in¡Viva!. Lusophone cinema also offers the possibility of new films coming from Mozambique and perhaps Angola.
What did I learn about Brazilian cinema and culture? The four films I saw were selected, as far as I can see, using three loose criteria. They were all in a sense ‘small’ stories as distinct from the ‘exotic’, violent and sensational stories of successful Brazilian films that have reached the West via commercial distribution. Three out of the four were directed by women and all four featured women’s lives prominently. Finally, all four promoted interest in the lives of people who have in some ways been helped by the reforms put in place by the Workers Party and who might now suffer with the swing to the right in Brazil. I enjoyed all four films and these seemed like good criteria for selection. I certainly learned things about Brazilian music history from Yorimatã but the other three films tended to mainly re-inforce things I’ve learned from other Brazilian films or from Hispanic Latin American films seen in festivals (not least ¡Viva!). In terms of population Brazil is closest to Mexico but has smaller cinema audiences despite a larger population. It makes more films than Mexico – but not as many as Argentina and they don’t get as much exposure internationally – possibly because of the language issue. A Variety report from Cannes 2016 suggests that this is changing, partly through major government incentives leading to over 100 productions per year – but will this survive the current political crisis? In terms of cultural diversity Brazil might be more like its Northern neighbours Venezuela and Colombia. The big plus in Brazil is the strength of local TV production and the global profile of companies like Grupo Globo and other producers of telenovelas. I think there was significant TV investment in the four films of the weekender. Another Variety report suggests that Brazil’s admissions reached 170 million in 2015 compared to Mexican totals of 286 million. But while Mexico managed only a 6.5% domestic share, Brazil managed 11.8% (second to Argentina). Nearly all the top domestic titles tend to be comedies, so if Brazilian films do feature in ¡Viva! we should see some popular comedies I think.
I hope we do see Brazilian films in ¡Viva! after this enjoyable taster of a Weekender.