In-Depth Notes on Post-Cinema Novo Brazilian Cinema

Introduction to Brazilian Cinema

• Brazilian cinema relies heavily on state support for survival.

• The 1990 policy changes by President Fernando Collor de Mello led to a significant crisis in Brazilian cinema.

• The Audiovisual Law (1993) provided new tax incentives, allowing cinema to recover from this crisis.

• Over 200 feature-length films produced post-1993 enjoyed international acclaim, e.g., Central Station (1998) and City of God (2002).

The Transition from Cinema Novo to Post-Cinema Novo

• Critics often compare contemporary films to the Cinema Novo movement (1960s-70s).

  • Lúcia Nagib: Current cinema is national but not nationalist; shifts focus from the political to the personal.

  • Kleber Mendonça Filho: Noted the rediscovery of social tensions akin to earlier films like Rio, 40 Degrees (1955).

  • Ivana Bentes: Critiques the lack of political radicalism in contemporary films, dubbing it "cosmetics of hunger".

The Evolution of Themes and Approaches

• Emphasis on entertainment and personal stories has replaced the political agendas of the past.

• Contemporary filmmakers explore diverse themes, often utilizing comedy to attract audiences.

• Example films from the post-crisis era:

  • Carlota Joaquina, Princess of Brazil (1995): Caricature of royal family, significant audience draw.

  • A Dog's Will (2000): A comedic morality tale rooted in Brazilian folklore.

  • Central Station: A narrative about hope and solidarity amidst poverty.

Contemporary Trends in Brazilian Cinema

• Shift towards more accessible and commercially viable filmmaking.

• Filmmakers often blend entertainment with social commentary:

  • Documentaries have expanded, addressing issues like urban violence and societal disparity.

  • Prominent contemporary directors include Eduardo Coutinho (e.g., The Mighty Spirit, 1999).

Urban Violence as a Theme

• Urban violence has emerged as a critical subject in films:

  • Digital storytelling captures the depiction of harsh realities.

  • City of God: Explores violence, youth, and survival in Rio’s favelas.

  • Bus 174: Examines a hostage situation and its roots in societal neglect.

Political and Social Contexts

• Cinema Novo espoused radical nationalism with a clear political agenda; contrasted by today's films lacking singular ideology.

• Current narratives focus on personal trials against a backdrop of social upheaval.

  • Common settings include the sertão and favelas, resonating with themes of crisis without the didacticism of previous eras.

Key Film Examples and Impact

• Foreign Land and Madame Satã: Explore identity and marginalized communities.

• City of God: Criticism for presenting violence as spectacle; debates over responsible representation ensue.

• Central Station: Critically acclaimed for its humanistic portrayal of Brazil’s challenges, balancing personal stories with political subtexts.

Conclusion

• Contemporary Brazilian cinema reflects both its history and current realities, characterized by its diversity and a shift towards personal storytelling coupled with broader societal commentary.

• Filmmakers are no longer constrained by Cinema Novo’s legacy, enabling innovative expressions of Brazilian life and culture, while addressing both historical and modern social issues.

Recommended Films

1. Behind the Sun (2001)

2. Bossa Nova (2000)

3. Bus 174 (2002)

4. Chronically Unfeasible (2000)

5. City of God (2002)

Recommended Readings

• Johnson, Randal. Brazilian Cinema (Various Editions).

• Nagib, Lúcia. The New Brazilian Cinema.

• Xavier, Ismail. Allegories of Underdevelopment: Aesthetics and Politics in Modern Brazilian Cinema.

Note: The discussion on Brazilian cinema includes historical, social, and political lenses, suggesting an ongoing evolution shaped by its past while engaging with contemporary themes and audiences.