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.
This final screening in HOME’s Brazilian Weekender was introduced by Lúcia Sa, Professor in Brazilian Cultural Studies at the University of Manchester. She informed us that the film had only opened in Brazil in June 2016 so it was something of a coup to see it in Manchester now. When I checked later I realised that since the film was co-produced with France it stands a good chance of getting a European release, certainly in France but perhaps also other territories. It had its world première at Toronto last year and also appeared in Berlin, Rome and at the American Film Market. Lúcia also told us that the director, Sandra Kogut, is from a Hungarian family. Further research reveals she has lived in France and worked in Europe and had artworks exhibited in New York. Might we then expect a view of contemporary Brazil from a global perspective?
Professor Sa suggested that the film we were about to see was about the ‘divided space’ of Rio de Janeiro. The film’s title refers to one of the poorer outlying areas to the west of the city. One morning, Regina, a wealthy woman in the affluent district of Ipanema in the South Zone (Zona Sul), is told by her maid that a small girl has been left in the entrance hall of the building with instructions not to move until her mother returns. Later the girl, Rayane, will be joined by her older brother Ygor (he’s around 9, she is perhaps 5). Neither knows where their mother has gone or the address of where they live with her. Regina at first tries to get rid of both of the children by phoning the local council and getting them put into care. But the mystery remains – why have they come to her door? Regina also has her own problems. She is splitting from her husband and her daughter, who is studying for college exams, is moving between the two. Is she being a ‘bad mother’? How does she feel as a middle-aged woman facing a possibly lonely future? Regina is also packing to move and the film carefully links her domestic chaos to the frantic building work taking place across the city. When Ygor re-appears at her door, she has a change of heart and tries to find his mother and his home. In the film’s Press Pack, director and co-writer Sandra Kogut explains that she sees the chaos of the city as both in one sense ‘realist’ and in another sense expressionistic as it represents the turmoil in the heads of the characters. The domestic chaos of Regina’s apartment is similarly bewildering for the children.
Campo Grande is 80 kilometres from Ipanema and when Regina makes the journey to find Ygor’s grandmother’s house she feels completely disorientated – she would never normally visit a place like this. Kogut also explains that although she wasn’t aiming for ‘realism’ as such she did use a methodology with the mainly non-professional cast that meant they didn’t know what would happen from scene to scene and that they stayed in position in designated settings such as Regina’s apartment for several days to get used to their situation. The street scenes were filmed ‘live’ – i.e. without blocking off traffic or using extras. Kogut is also an experienced documentary filmmaker. This approach is in fact quite similar to that of ‘social realist’ filmmakers such as Ken Loach. I also wondered if this might be a ‘realist melodrama’. It certainly seems that way and music is quite important in the narrative, including Regina’s daughter’s rendition of the John Lennon song ‘Love’ on the piano and a Brazilian pop song that Ygor claims is his grandmother’s favourite. The performances are generally very good. Carla Ribas who plays Regina is one of the few professionals in the cast.
Two further points about the film’s ‘look’ are important. As Lúcia Sa suggested, there are several scenes when the camera adopts the child’s perspective – shooting from a much lower ‘eye level’. There is also a more frequent use of close-ups and shallow depth of focus than might be expected in a film using a ‘realist’ aesthetic. In this sense the film is similar to the first of the Weekender films I saw, Jonas e seu circo sem lona, a ‘pure’ documentary. Campo Grande certainly highlights the inequality in Rio de Janeiro, though I suspect that something similar could be found in narratives set in many cities. I should also note that something else the director says, about the ways in which wealthy Brazilians develop very fluid relationships with maids and other servants, ties this film in with The Second Mother (Brazil 2015). You can probably guess why the mother of Ygor and Rayane left her children at Regina’s door. I’ll just reassure you that there is a resolution of sorts.
Here is the official Brazilian trailer – no English subs but it gives you the ‘feel’ of the film:
As the title implies, this is a story about an important day. Vera moves into an apartment in São Paulo in 1998. She’s in her mid-40s, not unattractive but perhaps a little uncertain/worried and both elated and stressed because of the move. Certainly, she’s not wealthy or elegant and this is a large unfurnished apartment, light and airy and spacious. But like our heroine it’s also a little run-down and in need of an uplift.
Vera seems to have quite a lot of furniture, books and household goods and two removal men soon appear to bring everything up to the apartment. But suddenly another man appears in one of the rooms. Where as he come from? Vera clearly knows him, but who is he? It’s difficult to discuss this film without revealing crucial spoiler information about the narrative, but I’ll try. The mysterious man refers to Vera’s past and this is a story about the ‘disappeared’ of Brazil. In this sense the film belongs to that category of narratives found in several Latin American countries, each with a history of political repression. In Brazil under the military dictatorship of 1964-85 arrest, imprisonment and torture of dissidents was responsible for the ‘disappearance’ of many individuals. In 1995 the Brazilian Government admitted the violations of human rights in the dictatorship period and 300 families were compensated for the ‘disappearance’ of relatives via legislative action. At one point the director, Tata Amaral, takes the text of the legislation and plays it over the two actors as if it was being projected onto them. You can probably guess what this means.
Hoje was the only one of the four films I saw on the Brazilian Weekender at HOME which was not introduced. There is very little about it on IMDB or Wikipedia. It was released in Brazil in 2013 and won prizes at Brazilian and Argentinian festivals but apart from one page in Brazilian from which I’ve taken the images here, it is difficult to find out much. It doesn’t seem to have travelled to other festivals. IMDB suggests that the aspect ratio is 1.78:1 implying it was shot for TV (i.e. in the 16:9 format). It looked to me more like 1.85:1 but IMDB also suggests that it was financed by HBO Latin America. If it was intended more for television that might make sense. There is really only one main set (Vera does go down to the street below for two short sequences). It had something of the feel of a TV play about it although the script is adapted from a novel.
I enjoyed the film and especially Denise Varga’s performance. I was also struck by the set design and the cinematography (which both won prizes for Vera Hamburger and Jacob Solitrenick respectively). It was interesting to see a film about the personal stories associated with resistance to authoritarian regimes – and it is noticeable that the film was produced and released when the Workers’ Party held power in Brazil.
In her second introduction of the Brazilian Weekender at HOME, Stephanie Dennison told us that music documentaries have been very popular in Brazil for the last few years and that Yorimatã was both critically and commercially successful in cinemas in 2015. She suggested that this was both surprising and encouraging since many audiences didn’t know about the two main subjects of the film – women who challenged conventional music industry ideas in the 1970s. This was my third documentary of the week and my second music documentary. Yorimatã has some things in common with Bayou Maharajah, but also several differences.
I don’t think I’ve seen a music documentary before in which all of the performers were unknown to me (apart from Gilberto Gil who makes a brief appearance). Coupled with my limited knowledge of Brazilian music styles this meant I found it a little difficult to discern the chronology of events. (The narrative is non-linear.) Other than that, however, I was captivated by the music and personalities of the two women who appear to have used just their first names – Luhli and Lucina – throughout their long careers. Here is the official trailer for Yorimatã which explains the title and introduces the story and the music. (The official website in Portuguese has some other interesting material, including the images used here.)
Luhli (sometimes Luli) and Lucina both began performing and recording in the 1960s as solo artists and with other performers. They got together in the early 1970s, forming a musical partnership that was exciting for them and for audiences and which lasted more than twenty years. They decided to become ‘independents’ and move away from the global music labels such as Philips and Polygram and took themselves off to live in the country – following, but in their own way, the similar trends in Europe and North America. The ‘music majors’ have always been global but, unlike Hollywood, they tend to put more effort into developing local ‘artists and repertoire’. They do so in conventional ways so Luhli and Lucina were seen as ‘radicals’. The living arrangements they made were also radical and ‘anti-conservative’ as they set up a family unit with photographer Luiz Fernando Borges da Fonseca. This three-way relationship was captured by Luiz and his archive of footage formed the basis for director Rafael Saar’s documentary (Saar is something of a specialist in music films). These archive clips are mixed with interviews, footage of the two women today, including recent performances with other musicians and archive clips of their earlier performances together.
The 1970s performances and the home movie footage of life in their rural retreat provide perhaps the most appealing sequences – enhanced by the grainy and colour-degraded qualities of the blown-up images. I was trying to think of what the British or American equivalents might be but I realised that the social and political differences between Brazil and the ‘North’ would have been an important factor. These images from Brazil seem at the same time more ‘homely’ and frankly more fun than 1970s hippy communes as depicted in Anglo-American music culture – but also more of a challenge to society since Brazil was under an authoritarian military dictatorship which arrested and exiled some musicians whose politics were deemed unacceptable.
In musical terms, however, it’s interesting that Luhli and Lucina made familiar moves towards musical forms that were more ‘roots’ orientated and sometimes more ‘spiritual’. But they also went through a phase of electrifying their music and becoming more rock-orientated. At this point I thought about Sandy Denny and Fairport Convention and wondered how things might have been different if Sandy had had a close female collaborator and soulmate. The music of Luhli and Lucina remained in a Brazilian context and for musicologists there are references to samba and the ways in which African music and other foreign forms have been developed in a Brazilian context. The most surprising aspect of the women’s performances (apart from the appearance of the 10-string Brazilian guitar – viola caipira?) is their use of African drums (see the trailer above). We see them working to make these drums and the film begins and ends with a drumming performance.
I’m not sure if this film will get distribution outside Brazil (it did appear at Toronto) but I do hope somebody tries to make it happen. The sounds and images have stayed with me and audiences should get a lot from it. Some will enjoy the women’s strength and challenge to the social order. Others will enjoy the music. Everybody will get something from it. I’m very pleased to have had the opportunity to see it.