Julia Seraphim

Anyone who watches Demi Moore’s new film, The Substance, will certainly remember it. Set in the vibrant city of Los Angeles, the film opens with a shot of the iconic Hollywood Walk of Fame, where a new star is being installed. This star belongs to actress Elizabeth Sparkle, played by Moore, and is soon seen crumbling, cracked and trampled on—a symbolic foreshadowing of the narrative’s central themes: youth, beauty and belonging.

A 50-year-old Elizabeth, recently fired from a TV show due to low ratings, resorts to extreme measures to recreate a perfect version of herself. What begins as a feminist film, addressing ageism and beauty standards, quickly transforms into something distinctly unforgettable and profound. Sparkle resorts to a mysterious process of “home cloning” with the help of an illicit drug, resulting in the birth of Sue, a young and cheerful doppelganger (played by Margaret Qualley) who literally emerges from her spinal column.

This ritual of rejuvenation, repeated every seven days, is at the heart of the film’s criticism. The condition of cyclical body swapping reveals the devastating consequences and emphasizes the transience of youth and beauty. Elisabeth is presented as the “matrix,” living under the constant pressure of bodily discontent as she ages, metaphorically illustrating that even the evil queen was once a princess, haunted by the reflection that reminds her of the time that stole her youth.

As Elisabeth uses her younger self to achieve her goals, she initially gets what she always wanted. However, the narrative takes a dark and visceral turn as we begin to see the adverse effects of her choices. The Substance does not skimp on elements of body horror, replete with gore and deeply unsettling moments. A landmark for fans of Julia Ducournau, who is well-known for her body horror films ranging from shorts to feature films.

Demi Moore’s performance as a fading star is devoid of glamour. She embraces the rawness and vulnerability of the role, highlighting the deteriorating beauty of Elisabeth Sparkle. “In a way, I felt like I wanted to do that,” she explains. “Part of what made it interesting was going to such a raw and vulnerable place, to really let go. And it was quite liberating in many ways.”

The narrative also deconstructs expectations associated with fairy tales, with the film’s conclusion featuring a striking line by Dennis Quaid, “pretty girls should always smile,” underscoring the persistent pressures surrounding femininity and beauty standards. This dialogue, a critique of the idealism of princess tales, reinforces the brutality of the reality addressed in the film.

Visually, director Coralie Fargeat creates a universe that mixes glamour, fear and disgust. His direction, coupled with the stellar performances of Moore and Qualley, is vital to the film’s effectiveness as an allegory about the dangers of obsessing over physical perfection. The film’s editing, with its crisp, raw transitions, keeps the viewer immersed in the brutality of the narrative.

“The critical point is the constant feeling that time is running out,” says Fargeat. This sense of urgency is palpable throughout the film, emphasizing the ephemerality of beauty and the relentless pressure to maintain it.

The Substance premiered at the Cannes Film Festival, and the film quickly became one of the most talked-about films of the 2024 edition. It is currently in theaters and will be released on MUBI on October 31, offering a disturbing and relevant narrative.

The film’s exploration of “body horror” is not merely for shock value, but to reflect the physical, bodily and emotional barriers that people go through to meet beauty standards. In an era of endless aesthetic procedures, the film presents a modern, critical and, at times, surrealist perspective on the obsession with youth and appearance.

The Substance is a film that provokes reflection, discomfort and admiration, not only challenging the limits of conventional horror, but also offering a striking critique of the obsession with youth and beauty.

You can find The Substance in theaters and from October 31st, on Mubi.

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Ken Loach, one of the great masters of British social realism, offers with The Last Pub a narrative that combines the filmmaker’s unmistakable style with deeply relevant themes. However, the approach, this time, is somewhat didactic and predictable, which dilutes part of the emotional impact that Loach seeks to achieve.

Set in a decaying village in the northeast of England, the film follows TJ Ballantyne (Dave Turner), the owner of a pub that is the last refuge of a community devastated by the closure of the coal mines. The arrival of Syrian refugees, including the young Yara (Ebla Mari), shakes up the local routine and exposes the prejudices and tensions latent in the population.

The script by Paul Laverty, a frequent collaborator of Loach, does not shy away from acid humor, but is predominantly serious and thoughtful. Laverty conveys his messages in a clear and direct, almost didactic way, making the film’s themes conveyed without intermediaries. This, however, ends up creating a feeling that we are being led through a narrative with a predefined purpose, leaving little room for subtlety.

Dave Turner brings a grounded and melancholic performance to TJ, conveying the essence of a man torn between his commitment to the pub’s regular customers, many with xenophobic views, and his desire to help the refugees. Ebla Mari, on the other hand, embodies Yara with a quiet strength and determination, despite some overly expository lines.

The film does not shy away from its intentions. When TJ talks about injustice and how we often blame those below us in the social hierarchy, or when Yara explains her exile in a didactic way.

The supporting characters, such as Charlie (Trevor Fox), the bigoted local, and Tania (Debbie Honeywood), the village idealist, help to populate the setting with credible figures, who reflect the naturalistic realism that Loach always sought. This strong performance by the cast, along with Robbie Ryan’s naturalistic photography, which viscerally captures the harshness of life in the village, contrasts with the simplicity of the script.

“It takes strength to make something beautiful.”

The film’s structure, however, tends to follow predictable paths, with deaths and interactions supposedly designed to draw tears. These narrative mechanisms, although effective in provoking emotional reactions, do not feel genuine, giving the audience the feeling that their emotions are being manipulated.

The Last Pub is, without a doubt, a work full of good intentions and important messages, especially in a global context where migration flows and prejudices have become constant issues. Even so, the explicit preaching and lack of nuances in the narrative may alienate some audiences who seek a more authentic emotional connection and a less directed cinematic experience.

“This is not charity, it is solidarity.”

Ken Loach, in his supposed last film, offers a toast to his legacy of social realism, but perhaps a toast that leaves a somewhat bittersweet taste in the mouth. The Last Pub reminds us of the power of small kindnesses and solidarity in times of crisis, but does so in a way that sometimes sacrifices authenticity in favor of didacticism.

You can find The Last Pub on Now.

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I’m Still Here, directed by Walter Salles, features a meticulous combination of powerful performances, narrative and distinctive cinematography, elements that make this film an unforgettable experience.

Fernanda Torres and Selton Mello play a crucial role in conveying the feelings of their characters, creating a visceral connection between the audience and the Paiva Family. Through authentic and moving performances, the actors manage to evoke a range of complex emotions, from hopelessness to tireless determination. This feat, however, is not achieved solely through their performances, but by the perfect choice of actors who enrich the already robust script by Murilo Hauser and Heitor Lorega.

Walter Salles, known for his work in “Central do Brasil” (1998), uses his skill to create an intimate and familiar tone that permeates the entire narrative. The photography and editing are high points in the film, standing out in the national scene for its originality and aesthetic depth. Each frame and each camera movement are calculated to transport the audience directly to the 1970s, a time marked by the hardening of the military dictatorship in Brazil.

Based on the book of the same name by Marcelo Rubens Paiva, the script for Ainda Estou Aqui offers a dense and emotionally charged plot, which portrays the struggle of Eunice (Fernanda Torres) to discover the whereabouts of her husband, Rubens Paiva (Selton Mello), an engineer and former congressman who was taken from their home and never returned. The narrative is not only a historical account, but an exploration of the emotional and psychological repercussions of the dictatorship, which continues to resonate in memories to this day.

The technical aspects of the film are impeccable, with photography that captures the essence of the time and editing that allows the film to maintain a perfect rhythm, along with the soundtrack marked by Gal, Caetano, Mutantes, among others.

The universality of the story is one of its greatest virtues. The film transcends the specificity of the Brazilian context of the military dictatorship to address themes of the search for truth, justice and resilience in the face of oppression. The co-production with France and the language in Portuguese do not prevent the plot from communicating with international audiences, making Ainda Estou Aqui a strong example of a Brazilian production that has the potential to dialogue with different cultures and contexts.

Ainda Estou Aqui is an emotional experience that invites the audience to reflect on a dark period in history, yet so close to our reality. The shock provided by real and tangible events provides a rare level of emotional engagement, leaving the audience deeply touched and contemplative.

In short, Ainda Estou Aqui stands out as a masterpiece of national cinema, offering a combination of sublime performances, sensitive direction and a historical narrative that maintains its relevance and emotional impact.

Ainda Estou Aqui can be found in the main cinemas in Brazil starting on November 7th.

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In A Vilã das Nove, Roberta (Karine Teles) is finally living the best phase of her life. Recently divorced and enjoying a new life with her daughter Nara (Laura Pessoa), Roberta feels invigorated and ready to embrace new opportunities. However, her peace is shaken when she discovers that her past, marked by difficult choices and abandonment, has been transformed into the plot of a 9pm soap opera, where she is portrayed as the villain.

A Vilã das Nove, directed by Teodoro Poppovic, is a dramatic comedy that uses the Brazilian television setting, familiar to the public, to tell a curious and humanized story. The film takes us to the world of soap operas, which makes it impossible not to immediately remember the great productions of Globo, SBT, and Record that shaped generations with their plots and memorable characters, whether through a scene or the characterization of the character within the soap opera that is in the film.

Poppovic directs a narrative that fuses the melodrama characteristic of Brazilian telenovelas with a uniquely engaging metalanguage. The script carefully treads the fine line between television fiction and real life, exploring how our personal stories can be reinterpreted and distorted when they enter the public sphere.

Roberta (Karine Teles) discovers that her life has been transformed into the plot of a prime-time soap opera on Brazilian TV where iconic characters such as Globo’s Odete Roitman and SBT’s Maria do Bairro shone brightly. The way in which Roberta’s life is meticulously unfolded, creating parallels with celebrated soap operas of the past, such as Avenida Brasil and Senhora do Destino, is at once nostalgic and innovative.

Karine Teles delivers a powerful and authentic performance as Roberta, whose existential crisis and search for redemption anchor the film emotionally. Alice Wegmann, in the role of Débora, imbued with resentment and pain, masterfully complements the interpretation of her fictional mother. The rest of the cast, including Otto Jr., Camila Márdila and Antônio Pitanga, contribute significantly to the depth and authenticity of the narrative.

The soundtrack is another highlight, ranging from classics by Marina Lima to carefully chosen international compositions. Each song is designed to underscore the drama and comedy. The photography and editing are well executed, capturing events from the present, past and the recording of the soap opera. The vocal preparation of the cast, an often overlooked part and rarely shown to the public who are unaware of the functions involved in the production of an audiovisual work, is highlighted.

The metalanguage present in the film, by showing the stages of creating a soap opera – from the conception of the script to the recordings – offers a glimpse behind the scenes of television. The dialogue that leads us to understand that “Everything is resolved in the script” encapsulates the essence of what makes a good telenovela or what leads it to its abyss, highlighting the importance of a good narrative, whether in real life or in fiction.

Vilã das Nove is not only a tribute to the world of Brazilian telenovelas, but also a deep exploration of the themes of regret, redemption and family relationships. Poppovic delivers a film that is, at the same time, a tribute and a critique of the power and influence of television productions in people’s lives. With great performances and a script with powerful dialogues, the film had its first screenings at the Rio Festival.

You can find A Vilã das Nove in the main cinemas in Brazil starting October 31st.

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Antonio Pitanga, an icon of Cinema Novo, returns in style with Malês, a deeply moving and historically important film that addresses the Malês Revolt, which took place in Salvador, Bahia, in 1835. This pivotal moment in Afro-Brazilian history is captured with sensitivity and vigor, resulting in a cinematic work that is both educational and emotionally impactful.

The plot follows two young African Muslims who are uprooted from their homeland and taken as slaves to Brazil. During this painful journey, a story of resilience and relentless search for freedom unfolds. Kidnapped from their families and communities, they are separated and forced to fight, both physically and emotionally, to survive and find themselves again. Along the way, they end up involved in the largest slave uprising in Brazilian history, led by 600 Muslim slaves. This rebellion, although suppressed in less than 48 hours with the violent repression and assassination of its leaders, left an indelible mark on history.

“If the world wants to make my son a slave, I want to change the world.”

During the premiere, which was part of the 26th edition of the Rio Festival and took place in a special session at Cine Odeon, big names such as Lázaro Ramos, Benedita da Silva and Maju Coutinho were present to honor the film. Antonio Pitanga, with his children Camila and Rocco Pitanga, was present, highlighting the personal and historical importance of the project.

Pitanga, playing Pacífico Licutan, one of the Malê leaders, delivers a charismatic and nuanced performance. His character emphasizes the importance of unity among different peoples, tribes and religions for the success of the revolt and the end of slavery. The production also portrays other important leaders, such as Ahuna (Rodrigo de Odé), Manuel Calafate (Bukassa Kabengele), Vitório Sule (Heraldo de Deus) and Luís Sanim (Thiago Justino), offering the audience a detailed and multifaceted portrait of the leaders of this historic uprising.

“Time expands to accommodate all stories.”

Under Pitanga’s direction, the film manages to balance intimacy and grandeur, capturing the details of the daily lives of enslaved people while showing the magnitude of their courage and sacrifice. The photography, which uses authentic locations in Cachoeira, Salvador and Maricá, is visually stunning and carries a historical weight that transports the viewer directly to 19th century Bahia.

Manuela Dias’ script is another highlight, seeking not only to narrate the Malê Revolt, but also to explore the depth of the fight against racism and religious intolerance through strong dialogues. Manuela builds a rich and multilayered narrative, which invites the viewer to reflect on issues that are still relevant in contemporary society.

The soundtrack, with strong drums, complements the narrative by evoking the spirituality and resistance of the characters. The art direction and costumes also deserve to be highlighted, providing a complete immersion in the historical context of the film.

“It’s not about helping, it’s about participating.”

Malês is not just a film about the past; it is a work that resonates strongly in the present. Antonio Pitanga, at 85 years old, delivers a passionate direction and a powerful performance, supported by a talented cast and a dedicated crew. The film is, above all, a tribute to the resilience and courage of those who fought and continue to fight against oppression.

Scheduled for release on November 14, Malês not only retells an essential story of Afro-Brazilian culture, but also promotes a profound reflection on current inequalities.

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Pedro Almodóvar, one of Spain’s most celebrated filmmakers, makes his English-language debut with The Room Next Door, recently screened at the Rio 2024 Film Festival. This work, which won the Golden Lion at the Venice Film Festival, not only celebrates the director’s linguistic journey, but also consolidates his unparalleled ability to deliver emotionally rich and visually captivating narratives.

Inspired by the book What You’re Up against, by Sigrid Nunez, the film tells the story of Ingrid (played by Julianne Moore), a renowned writer who discovers that her former colleague, Martha (played by Tilda Swinton), is battling incurable cancer. After reuniting with Martha in the hospital and realizing her loneliness, Ingrid accepts an unusual invitation to join her in an isolated house in Woodstock. The two try to find peace while facing timeless ethical and emotional dilemmas.

Almodóvar, even when filming in a language different from his usual one, maintains his signature style. The Room Next Door maintains beautiful geometric frames, vibrant colors always composed of bright yellows and reds, and an emotional depth that are the director’s trademarks. The film uses visual beauty to contrast heavy themes such as terminal illness and loss, offering a rich visual and psychological experience. However, discussing euthanasia and finitude within these bonds does not seem to be the director’s main focus, who prefers to explore the complexity and complicity of human relationships.

The script, although not revolutionary in terms of narrative innovation, surprises by intertwining comic dialogues with such dense themes. Almodóvar once again demonstrates his ability to find lightness and even laughter in moments that could be overwhelmingly dark. This touch of humor not only alleviates the intensity of the film, but also humanizes the characters, making them more accessible and real.

Tilda Swinton delivers an unparalleled performance. Her portrayal of Martha, both physically weakened and psychologically complex, is fascinating. Swinton navigates between serenity and impatience, illustrating in a credible way the emotional swings that those who face serious illnesses and the consequences of treatments, even when palliative, go through. Furthermore, her ability to insert comic timing at unexpected moments is a demonstration of her multifaceted talent.

Julianne Moore, in turn, faces an even greater challenge as Ingrid, a character who must balance empathy and strength in the face of her friend’s suffering. Moore charms and moves with her depth and vulnerability, delivering a performance that wins the viewer’s empathy.

Eduard Grau, in his first collaboration with Almodóvar, captures the visual essence of the director, offering a cinematography that is at once familiar and invigorating. The soundtrack, once again by regular collaborator Alberto Iglesias, complements the narrative with emotionally charged musicality, further enriching the audience’s experience. There are moments in the soundtrack that the viewer will feel like they are in a Hitchcockian thriller and at others in a Woody Allenian New York plot.

The Room Next Door is not only Pedro Almodóvar’s landmark English-language debut, but a work that reaffirms his unmistakable talent for exploring human drama through a lens of compassion, humor, and sensitivity. The narrative, while remaining familiar to the director, is heightened by the captivating performances of Julianne Moore and Tilda Swinton.

Almodóvar manages to multiply the complicity between his characters without falling into the trap of uplifting speeches, creating an experience that is, at the same time, delicate and powerful. By redirecting his gaze to new lands, the director proves that his talent transcends languages, and that the heart of his stories beats strongly through the complexity of his characters, no matter the language in which they are told. The Room Next Door opens in Brazilian theaters on October 24 and will be shown at the 48th São Paulo International Film Festival from October 17 to 30.

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Johatsu – The Evaporated is a documentary that delves into the mysterious Japanese phenomenon of the Johatsu, or the evaporated. These individuals, for various reasons — such as shame, debt or personal bankruptcy — choose to disappear and leave their lives behind, often with the support of specialized companies called night movers. This film reveals the internal conflicts of those who have disappeared and the consequences for those they have abandoned.

The directing duo Andreas Hartmann and Arata Mori bring to the screen a sensitive and disturbing approach to a phenomenon as intricate and culturally specific as the Johatsu. The co-production between Japan and Germany enriches the narrative by incorporating different cultural prisms, maintaining the focus on the essence of a modern Japan still bound by traditional codes of honor.

The documentary begins by contextualizing the history of night movers, companies that help people disappear and start their lives over. Originating in the 1990s, these companies emerged as a response to the collapse of the Japanese economic bubble, when many people, unable to honor their debts, sought an extreme way out. Intense social pressure and the imminence of public shame have turned this practice into something recurrent, similar to hikikomori – the extreme withdrawal of young people due to social pressure and anxiety. The film discusses how the Japanese code of honor, bushido, profoundly influences the way Japanese people deal with failure and shame. The narrative is powerful in showing people who contemplate suicide until they reach the phenomenon of Johatsu. Shame, which many believe can only be removed by radical measures such as suicide, is presented as a devastating force that leads thousands to prefer the annulment of their existences rather than live with their imperfect reality. The cinematography of the documentary is immersive and respectful, never sensationalist. Hartmann and Mori present the stories in a way that makes the viewer feel involved in the internal struggle and hopes of the individuals. The soundtrack, strongly marked by Japanese taiko drums, contributes to the immersion, emphasizing the tension and gravity of the themes addressed. An intriguing curiosity is that Johatsu cannot be shown in Japan, a condition imposed by the participants themselves who feared for their safety and privacy. This restriction adds a layer of urgency and secrecy, highlighting the depth of the taboo surrounding the subject in the country of origin.

Throughout the documentary, we see not only the devastating impact on the lives of those who choose to disappear, but also on those who are left behind. Families and friends are left with an unrelenting void, questioning their loved ones’ decision and dealing with the aftermath of a disappearance that often does not allow for emotional closure.

Johatsu is an essential documentary that delves into the emotional and cultural turmoil of Japan’s ‘evaporates’. Andreas Hartmann and Arata Mori offer Western audiences a rare and penetrating look at a practice as deep-rooted as it is hidden. Winner of the Main Competition at the Munich International Documentary Film Festival, the film is a searing critique of the extreme social pressures and codes of honor that continue to have a fatal influence on modern life in Japan. Premiering in Macau and featuring a powerful soundtrack, this documentary is a must-see testament to human resilience and the desperate search for redemption and anonymity.

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Manga d’Terra (2023) is the new feature film by Portuguese-Swiss Basil da Cunha, which has just been screened at the Rio Festival. The story revolves around Rosinha (Eliana Rosa), a young Cape Verdean woman who leaves her children in her homeland, Cape Verde, and moves to Lisbon with the hope of providing them with a better life. However, in Lisbon, she faces a life permeated by police raids and machismo. Rosinha, who aspires to be a singer, finds solace and strength in the women of her community and in music to fight for her dreams.

In Manga d’Terra, Basil da Cunha continues to explore the daily life of Bairro da Reboleira, a peripheral area of ​​Lisbon. Unlike his previous works, which focused on the male universe, this film places women at the center of the narrative, highlighting their struggles and resilience in an adverse environment.

Eliana Rosa, who is Portuguese and Cape Verdean, lights up the screen with her performance as Rosinha. The young singer, now turned actress, brings to life a character whose trajectory reflects many of her own experiences. “All of this is very rewarding. Being able to make a film, work on what I want to work on, travel to other countries, sing for people to listen to. I have everything I want,” she said. Rosa brings incredible sincerity to the role, especially in the scenes that address harassment and prejudice, reinforcing the authenticity of her performance.

Basil da Cunha’s approach is intuitive and organic, which maintains a documentary aesthetic. The film is rich in improvisations and spontaneous moments, captured by the handheld camera. He skillfully balances drama with humor, creating memorable scenes that oscillate between the tragic and the comic.

Manga d’Terra goes beyond a simple sociological portrait of the Bairro da Reboleira. It delves into the issues of immigration, identity and belonging that are strongly present in Lisbon today. Rosinha, like many immigrants, works in underemployed jobs and faces constant challenges due to her lack of documents. The narrative highlights the strength of the women in the community, who, despite adversity, find ways to support each other and endure.

The film captures the coexistence of humor and drama in the daily life of the neighborhood. It shows how life in the Reboleira neighborhood is full of funny situations and complex human relationships, from jealous women being carried on people’s backs to hilarious arguments over Instagram photos. This duality makes the film even more real and accessible. Manga d’Terra is a masterpiece by Basil da Cunha, combining emotional depth with documentary authenticity.

Eliana Rosa’s performance is the heart of the film, and her transition from singer to actress is nothing short of brilliant. “I am very blessed, I swear,” says Rosa, reflecting her gratitude and excitement for this opportunity. Manga d’Terra is a brilliant addition to Da Cunha’s filmography and a deeply moving cinematic journey that celebrates the resilience and humanity of immigrant women.

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Betânia, directed and written by Marcello Botta, is a Brazilian film that made its world premiere in the Panorama section of the 2024 Berlin Film Festival and recently impressed audiences at the Rio Festival. This feature film explores the life of Betânia, a 65-year-old widow who returns to her hometown in Lençóis Maranhenses after the death of her husband. The film is a cultural and sensorial immersion that mixes tradition and modernity, introspection and culture shock.

The narrative follows Betânia, who, after the death of her husband, is convinced by her daughters to return to her village. There, she faces the challenges of a simple life in contrast to the new technologies and modernity that arrive in the region. The film portrays Betânia’s transition and adaptation to this new reality, as she rediscovers her roots and deals with the changes imposed by progress.

Marcello Botta, in his debut, demonstrates an impressive mastery of aesthetics and visual narrative. Botta’s editing, combined with memorable photography, conveys a profound authenticity. The scenes are carefully lit by the sun during the day and by fire at night, reflecting the beauty and rawness of Lençóis Maranhenses. The use of elements such as the folklore of Bumba Meu Boi adds layers of cultural richness and spirituality to the story.

Diana Mattos delivers a moving and authentic performance as Betânia, reflecting the character’s resilience and vulnerability. The core of the absurdity in the film is brought to life by Anouk Mulard as Sofie and Tim Vidal as Bernard, Frenchmen who travel to Maranhão. Their scenes are the most fictional and choreographed in the film, providing an interesting contrast to the rest of the narrative and eliciting strong reactions from the audience.

Betânia explores themes of grief, identity, and adaptation, while subtly criticizing modernity and progress. The inclusion of modern elements, such as the internet and smartphones, contrasts sharply with traditional village life, where simple things like leaving the refrigerator on 24 hours a day, as well as taking a shower, were not a thing. The presence of Atlantic tide-borne trash, an emerging phenomenon on the beaches of the Northeast, serves as a powerful symbol of the unwanted invasions of modernity.

Marcello Botta’s approach to cinematography is particularly inspiring. The soundtrack is equally remarkable, with popular songs adapted into styles such as brega, reggae, and chants. This creative use of music accentuates the cultural shock and narrative of the adaptation.

Betânia is a work that celebrates the culture and resilience of the Brazilian people, while subtly criticizing the impositions of modernity. The narrative is a reflection on change and adaptation, questioning the deification of urban life and exploring what we truly seek in our lives.

Although it sometimes presents an excess of information and social struggles, Betânia remains an essential cultural document and a testament to the human capacity to find happiness and belonging anywhere. This film is more than a film; it is a rescue of memory and traditions.

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Virgínia and Adelaide, under the visionary direction of Yasmin Thayná and Jorge Furtado, offers a window into a crucial and often overlooked chapter in Brazilian history. The film, which already made a significant impact at the 52nd Gramado Film Festival and is now making its way to the Rio Film Festival, focuses on the intertwined lives of Virgínia Leone Bicudo (played by Gabriela Correa), a black Brazilian sociologist and psychoanalyst, and Adelaide Koch (Sophie Charlotte), a self-taught German-Jewish doctor and psychoanalyst.

The plot tells the story of the meeting of these two women in 1937, a year after Adelaide arrived in Brazil, fleeing Nazi persecution with her family. This meeting was the beginning of a joint journey that would challenge and transform the landscape of psychoanalysis in Brazil. Gabriela Correa’s performance as

Virgínia is powerful and carries with it an intensity that captures the complexity of being a black woman in a society permeated by sexism, patriarchy, racism and prejudice. Sophie Charlotte delivers an equally rich performance as Adelaide, exposing the struggles of a Jewish refugee who seeks to rebuild her life while facing her own barriers. Jorge Furtado, who also wrote the script, builds a narrative that blends fiction with documentary archives, providing historical and emotional depth to the film.

The ability to balance the fine line between documentary and fictional drama is one of the strengths of the direction and editing, creating a cinematic experience that is both educational and moving.

The production by Casa de Cinema de Porto Alegre, together with the co-production of GloboFilmes and GloboNews, guarantees a high level of quality. Virgínia e Adelaide is not only a tribute to two extraordinary women who helped popularize psychoanalysis in Brazil; it is also a reflection on resilience in the face of adversity.

The five-year relationship as doctor and patient, more than three decades as colleagues and a lifetime as friends is presented with a sensitivity that captures and celebrates the strength of their personal and professional connections. The film is scheduled to premiere in the first half of 2025. This is a historically necessary film, released at a time when memory and the fight for justice and equality are more relevant than ever.

In short, Virgínia e Adelaide is a cinematic work that promises to educate, inspire and move. Yasmin Thayná and Jorge Furtado deliver a film that not only fills a gap in Brazilian historiography, but also offers a cinematic experience. It is a celebration of the courage, friendship and lasting impact that these two remarkable women had on the field of psychoanalysis and on Brazilian society as a whole.

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