A landmark political documentary and masterpiece of Latin American cinema, Brazilian filmmaker Eduardo Coutinho’s genre-fluid cinema vérité essay traversed from resistance to lamentation to healing over the course of three episodes that were woven into it. In 1964, he started making a hybrid docu-drama – blending neorealism with agitprop – on João Pedro Teixeira, a fearless activist who was brutally murdered 2 years back by the military police and lackeys of local landowners, for his outspoken advocation of land reforms and peasant rights. Coutinho cast non-actors, including Teixeira’s widowed wife Elizabeth playing herself, and shot for 35 days at a recently collectivised farm before being shut down by the military coup d’état in Brazil. Nearly everything was seized, some folks were arrested, and rest – including Elizabeth, who’d become a rebellious voice herself after her husband’s death – went into hiding. The self-reflexive and kaleidoscopic middle chapter, shot in 1981 as the dictatorship was losing its grip, sees Coutinho returning and reconnecting with the stalled film’s participants, screening the recovered footage, and recording memories from 17 years back, reflections on lost years, and stories of harsh punishments, reconciliations and survival. In the extraordinary final segment filmed over the following 3 years, Coutinho first tracks down Elizabeth – she’d escaped overnight and had been living incognito ever since – so that she’s finally able to reclaim her identity, voice and life, and then her many children, most of whom have grown up dispersed, carrying fading recollections of their mother. This deeply moving final chapter powerfully extended the individual histories of direct participants, for a meditation on the personal costs of resistance, chronicle of interruption, and expression of cinema’s capacity for defiance, endurance, remembrance and driving closure.
Director: Eduardo Coutinho
Genre: Documentary/Essay Film/Political Film
Language: Portuguese
Country: Brazil


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