Julia Seraphim

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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Last Saturday, October 6, the Rio Festival was lit up with the premiere of “BELA LX-404,” the highly anticipated short film written and directed by Luiza Botelho. Even though the screening was not in the official competition, the film stood out as one of the most exciting attractions of the event, also serving as a tribute to the legendary actress Léa Garcia, whose recent loss leaves an immeasurable absence in Brazilian cinema.

Léa Garcia, at 89 years old, gave life to Bela LX-404, a sensual robot acquired by a lonely man, Seu William (Thiago Justino). The choice of Léa for this role – a robot with touches of sensuality – not only defies William’s expectations, but also those of the audience. In a performance that mixes humor, humanity and a hint of irony, Léa captivates from start to finish. The actress herself confessed to having a lot of fun with the role, which is evident in each scene, making her performance even more captivating.

The plot, which begins in an almost comical way with William’s surprise at receiving a robot older than the attractive young woman he was expecting, evolves into a deeper reflection on human relationships, loneliness and acceptance. Henrique Bulhões stands out in the story as the doorman Zezinho, whose interaction with Bela and William adds layers of complexity and sensitivity to the film.

Luiza Botelho’s direction is a fitting tribute to her father, and a promising showcase of her own cinematic talent. The choice of the year of robots and the futuristic style is supported by the lighting work, which plays a fundamental role in transporting the viewer to a future where technology and human relationships intertwine in unexpected ways.

The visual effects, especially the futuristic technological screens, are noteworthy and add a layer of authenticity to the film’s futuristic setting. The post-production perfectly bridges the gap between the human and technological elements of the work, without ever taking the focus away from the moving performances and character development.

BELA LX-404 is a beautiful farewell to Léa Garcia, offering a last chance to appreciate the brilliance and versatility of an actress who left an invaluable legacy. The short film combines humor, emotion and innovation, leaving the audience not only entertained, but also reflective on the complexities of human relationships in a world dominated by technology.

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Highlighted at the Cannes Film Festival, “Emilia Pérez” is one of France’s strongest bets for the next edition of the Oscars, in the category of Best International Film. The film, which will only be released in Brazilian theaters in 2025, has won awards and critical acclaim. It recently opened the 26th edition of the Rio Film Festival, with sold-out screenings, reflecting the great enthusiasm surrounding the production.

Directed by Jacques Audiard (known for “Rust and Bone” and “A Prophet”), the film was shot in Mexico and is mostly spoken in Spanish. Emília Pérez blends elements of Mexican crime drama and musical to tell the intertwined story of two individuals in search of a brighter future: Manitas del Monte (played by Karla Sofía Gascón, Spanish actress from “Rebelde”), a drug cartel boss who dreams of becoming a woman, and Rita Moro Castro (played by Zoë Saldaña, from “Avatar: The Path of Water” and “Crash”), a discredited lawyer who sees the offer to help Manitas as a chance to transform her own life.

The pact between them requires Manitas to abandon his past in drug trafficking, including his family. For Rita, the responsibility of resolving the practical details of the plan generates a sense of urgency, which is reflected in the film’s fast-paced narrative. Soon, Manitas becomes Emilia Pérez, a transformation that not only changes Rita’s life, but also impacts the lives of two other women: Jessi (Selena Gomez, from “Only Murders in the Building” and “Wizards of Waverly Place”), Manitas’ widow, who finds herself trapped in a lie while trying to live with Emilia, and Epifanía (Adriana Paz, from “Vis a Vis”), who, in search of redemption, starts an organization to help missing people, since Mexico is one of the countries where the most people go missing.

Emilia Pérez explores these women’s journeys of self-discovery: Emilia faces the reality of finally living her dream, Rita navigates the complexity of achieving success and discovering her internalized emptiness, Jessi tries to find happiness again with another man (Edgar Ramírez), and Epifanía learns to live without fear and to love again.

Music is a central element of the film, organically inserted into the narrative to reinforce emotions and themes. Unlike classic musicals such as Moulin Rouge, Mamma Mia, or even Les Misérables, Emília Pérez’s soundtrack provokes a wide range of feelings, from intimidation and impact to discomfort.

It is worth noting that the cinematography and choreography are highlights of the film, further enriching the experience. The cinematography captures the nuances of the Mexican landscapes and the characters’ most intimate moments, while the choreography adds an extra layer of expressiveness and dynamism to the scenes. It is no wonder that Karla Sofía Gascón was awarded the Best Actress award at Cannes, a victory that underscores the strength and depth of the performances that characterize the feature film Emília Pérez.

With its innovative approach and rich human nuances, Emília Pérez promises not only to be a strong contender at international festivals, but also to win the hearts of audiences by exploring universal themes of identity, transformation, and redemption.

“Federer: Twelve Final Days” is an emotional farewell to one of the greatest icons in world sport, directed by Asif Kapadia and Joe Sabia. This documentary is not just a retrospective of Roger Federer’s career, but a heartfelt and moving tribute to the man behind the racket, whose exploits on the court captivated millions around the world.

From the shocking moment of his retirement announcement, the film grips the viewer with an avalanche of emotions. We closely follow not only Federer, but also his family—his wife, children, and parents—and even phone calls from influential public figures and fans. The press conference that shook the sporting world in 2022 is portrayed with a sensitivity that highlights the magnitude of the moment.

Throughout the documentary, we see Roger Federer reflect on his personal and professional journey, revealing his insecurities after knee surgery—a phase he never imagined he would face. Kapadia and Sabia’s ability to capture Federer’s vulnerability adds a deep layer of humanity to the tennis legend. The struggle to regain confidence, the difficulties in long matches and the growing impact of his physical limitations are shown without filters, allowing viewers to understand the emotional complexity of an athlete facing the end of his competitive career.

The backdrop of the 12 days leading up to his final match at the Laver Cup in London is richly illustrated by Federer’s relationship with other tennis giants such as Djokovik, Nadal and Murray. These interactions, especially with his childhood hero Björn Borg, add a noble touch to the legacy Federer leaves behind. Even in his farewell, Federer promises not to “disappear and become a ghost” like Borg, reaffirming his continued commitment to tennis and its fans.

The editing of the film is one of the highlights. Kapadia and Sabia alternate footage of Federer’s epic games, including his legendary battles against Rafael Nadal, with home footage of a young Federer training with adolescent fervor. This visual narrative creates an intimate connection between the past and the present, highlighting the evolution of the player and the man.

“Federer: Twelve Final Days” is not just a documentary; is a tribute to the passion, resilience and indomitable spirit of an athlete who redefined modern tennis. It’s a powerful reminder of the lasting impact Roger Federer has had on sport and so many people’s lives. The emotion that permeates each frame leaves no doubt: this film is a celebration worthy of a legend.

Next Thursday (April 4th) the film “A Happy Family” hits theaters. It reveals an intricate plot centered on Eva, a young mother faced with the devastating reality of postpartum depression in the midst of a community that quickly turns against her. With the script  written by Raphael Montes and directed by José Eduardo Belmonte, the film immerses viewers in a dark plot accentuated by meticulous lighting work.

With impactful performances by Grazi Massafera and Reynaldo Gianecchini, the The narrative reveals the family tensions and hidden secrets that threaten the apparent harmony of Eva’s life.
In “Uma Família Feliz”, the influence of “Aos Teus Olhos” from 2017, scripted by Lucas Paraíso, is noticeable both visually – from the film’s poster to the narrative construction – and in its emotional core. The film addresses in a striking way the dangerous dynamics of public lynching and the destruction of an individual’s life as the community closes in on suspicions and hasty judgments, without stopping to understand the truth behind the events.

Raphael Montes weaves a suspenseful plot that keeps the viewer tense and involved, gradually revealing the intricate secrets that permeate the lives of this apparently perfect family. The film stands out for its ability to explore the deepest layers of the human psyche and for the way it exposes the fragility of interpersonal relationships when subjected to the pressure of public scrutiny and irrational suspicion.

The feature film is a dense and engaging psychological thriller that echoes not only the visual and narrative features of “Aos Teus Olhos”, but also its powerful message about the dangers of rush to judgment and the destruction caused by public lynching. With a skillfully constructed narrative and a talented cast, the film delves into the shadows of the human condition, revealing how closely guarded secrets can become poisonous when exposed to the light.

“Someone has to actually work while your mother plays with dolls, son.”

It is necessary to reinforce the invalidation and lack of recognition of women’s work beyond the office, when she takes care of the house, her husband, 3 children and still has her personal life projects.

As Raphael Montes says: “I’m afraid of the evil citizen, but I’m more afraid of the good citizen.”