Cine Fest Petrobras Brasil ‘10: Oscar Niemeyer—Life is a Blow

He could be called the Bossa Nova Le Corbusier. Adapting the International Style to Brazil, he was innovator in the use of reinforced concrete to create gentle curves and grand plazas. Oscar Niemeyer’s buildings have become icons of the Latin American country, so it is understandable why Cine Fest Petrobras Brasil chose to close the New York leg of the festival with Fabiano Maciel’s documentary Oscar Niemeyer—Life is a Blow (trailer here) last night at Central Park’s Summer Stage.

Niemeyer was not just inspired by Le Corbusier, he collaborated with him on one of the world’s best known buildings—the UN Building. It really should have been Niemeyer’s gig alone, but he allowed the French modernist to worm his way into it. Though his work can be seen around the world, arguably his most important buildings are in the Brazilian capitol of Brasilia, including the National Congress and the Cathedral of Brasilia.

While the wavy lines of Niemeyer’s structures might remind some viewers of Frank Gehry, the Brazilian’s curving concrete is more expressive and functional, never indulging in Post-Modernism for its own sake. Indeed, his use of mosaic murals demonstrates his connection to tradition and his desire to development a uniquely Brazilian architecture.

We hear quite a bit from Niemeyer in Blow, including some odd political diatribes that pass unchallenged by Maciel. Indeed, the architect seems have a marked preference for autocratic strongmen, which is perhaps understandable, considering how many of his commissions have come from government decrees. As one interview subject archly remarked: “Niemeyer has always opposed right angles and capitalism.” That may have worked for his career, thanks to his government patronage, but both are necessary in real life.

Regardless of Niemeyer’s problematic Marxism (at a time when the world intelligentsia was well aware of the crimes done in its name), his buildings are incredible. Blow showcases them well, giving viewers a sense of the flowing spaces and character of his most important structures. It is effectively underscored by an original jazz soundtrack featuring the likes of João Donato and bossa guitarist Felipe Poli. Hip listeners would also be interested to see Chico Buarque appear in a non-musical capacity, speaking to Niemeyer’s relation to Brazilian artists in other disciplines. However, despite the power of its visuals, the cerebral nature of the film and the gentle sounds of its score might have been lost on some of the Summer Stage crowd.

Respectful to a fault, Blow makes it clear the less Niemeyer is heard and the more his structures are seen, the greater viewer appreciation will be for his striking body of work. It closed a strong slate of films at Cine Fest Petrobras Brasil in New York, which now proceeds to Vancouver.

Cine Fest Petrobras Brasil ‘10: Rita Cadillac—the Lady of the People

In Brazil, even the leftists are fun. At least, Rita Cadillac is. A one-time socialist candidate for local office, she is better known as Brazil’s most enduring sex symbol. Wisely eschewing politics in favor of the kind of material that will interest her legions of fans, Toni Venturi’s documentary profile Rita Cadillac—the Lady of the People (trailer here) played to appreciative audiences at this year’s Cine Fest Petrobras Brasil in New York, which concludes tonight with a free screening of Oscar Niemeyer—Life is a Blow in Central Park.

Cadillac (no, that is not her real name, and yes, there was also a similarly named French dancer at the Folies Bergére) first came to national prominence as a “Chacrete” dancer on a popular variety show, sort of the Brazilian equivalent of a Solid Gold dancer. As her following grew, she accepted movie roles and developed her own go-go dancing touring revue. Recalling life on the road, Cadillac clearly regrets accepting a booking at the remote Serra Pelada mining camp, where things got a bit tense with the lumpenproletariat audience. However, she has nothing but fondness for the many prison shows that made her the risqué god-mother to Brazil’s inmate population.

In dire financial straits, Cadillac agreed to make a series of porn films in the early 2000’s. Yes, they really were pornography, which Venturi makes abundantly clear with excerpted clips that would not be safe for work even if you have a job at Maxim magazine. Still, they are impressive in their own way, considering Cadillac was fifty-five when she shot her first adult feature.

While Venturi employs the tried and true conventions of documentary filmmaking, including talking head interviews, archival television footage, and candid scenes of Cadillac and her friends and family, the events of her life are certainly memorable. Undeniably a survivor, she comes across as quite likable and engaging. It probably helps that Venturi scrupulously avoids politics, clearly favoring the naughty bits that would please her legions of fans.

Lady is a generous shot of Brazilian pop-cultural history that would be hard to glean from other more staid sources. It moves along briskly and delivers what her adoring public wants. It was a good fit for the Cine Fest Petrobras Brasil, which concludes tonight with their free concert and screening at Central Park’s Summer Stage before moving on to Vancouver.

Cine Fest Petrobras Brasil ‘10: Straight to the Point

Bezerra da Silva had serious street cred. The late Samba musician often recorded tunes penned by songwriters associated with Brazil’s underclass and underworld. While the lyrics might resemble gangster rap, the music was still traditional samba, at least according to what is heard during Márcia Derraik and Simplício Neto’s documentary Straight to the Point (trailer here), which screened during this year’s Cine Fest Petrobras Brasil in New York.

Though jaded, da Silva was a witty and charismatic figure. Dubbed the father of “Gangsta Samba,” he was one of Brazil’s best-selling recording artists, who gave back to his community by recording the work of previously unknown musicians. Frequently, their subject matter glorifies the criminal lifestyle and often expresses attitudes towards women not unlike that heard in rap. Frankly, the amount of film devoted to songs demonizes “snitches” seems oddly excessive. However, the music itself sounds great, especially when divorced from the content of their lyrics.

While da Silva certainly gets considerable screen time, the film is really more about his protégés, the upstart musicians forced to work day jobs as they pursue music on the side. Many are not necessarily bitter about their circumstances though, like the air-conditioning technician who seems to take particularly pride in his vocation. In fact, Straight casts a distinctly jaundiced eye on the Brazilian music business that da Silva claimed never properly compensated him for his voluminous hit recordings. (Indeed, the crookedness of record labels seems to be a constant that transcends national and cultural boundaries.)

Derraik and Neto are quite conventional in their approach to documentary filmmaking, recording talking head styles interviews, candid footage, and casual musical performances. Still, it all works perfectly well thanks to the dangerous charm of da Silva and the insinuating power of Samba in general.

Brazilian music documentaries are a traditional strength of Cine Fest Petrobras Brasil and often return to City for special screenings sponsored by organizations like Cinema Tropical. The briskly paced Straight certainly follows in that tradition. A fantastic sounding film, it is definitely recommended, particularly for residents of Vancouver, the next stop on the Petrobras Brazilian festival circuit.

Cine Fest Petrobras Brasil ‘10: Sunstroke

With its sunny vistas and striking modernist architecture, it is hard to imagine much angst-filled brooding in Brasilia. Of course, there is plenty, usually resulting from some form of love denied. Inspired by Russian literature of the Nineteenth Century, Felipe Hirsch and Daniela Thomas’s Sunstroke (trailer here) might be the most demanding selection of this year’s Cine Fest Petrobras Brasil in New York.

Consciously inspired by Soviet Constructivism, Brasilia was intended to be a utopian city in the desert. It still looks cool, but the summers are long and hot. Those who remain languidly loll away the time like Chekhov characters. Even our pseudo-narrator has a Russian name: Andrei. His verbose introduction would seem truly pretentious, if it were not so droll and subversive. Indeed, though Sunstroke is self-consciously art cinema, it frequently plays with our expectations for such films.

As Andrei explains in his preamble (with suitably Russian fatalism), the stories of Sunstroke are about “Love and loss—loss, mostly.” Childish crushes end as they must. Petty jealousies undermine budding relationships, while one-night stands that produce unrequited emotions are terminated abruptly. Yet, despite the feeling of emptiness in the city, the storylines never overlap, except at a bizarre concession stand, where Andrei often pontificates to other confused characters.

Oddly amusing, yet always dignified, distinguished Brazilian actor Paulo José is a pleasure to watch as the erudite Andrei. The rest of the cast is something of a mixed bag. Perhaps the most successful arc involves a non-existent love triangle, in which one man’s innocent affection for a student becomes a pretext for his lover to break off their affair. Leonardo Medeiros depicts Leo (another Russian sounding name) with nebbish likability, while young actress Daniela Piepszyk takes quite an impressive turn as the smitten Zoyka.

Hirsch and Thomas’s unhurried pacing might be faithful to their literary inspiration, but it puts the film somewhat at odds with the rest of the festival line-up. Inspired by Russian sources and written by American screenwriters Will Eno and Sam Lipsyte, Sunstroke is a challenging film, periodically enlivened by moments of eccentric wit. It always looks spectacular though, thanks to cinematographer Mauro Pinheiro Jr’s gorgeously framed shots of Brasilia and the surrounding desert.

Although clearly intended for an elite audience, Sunstroke has its intriguing moments for those who acclimate to its rhythms and ambiance. A strangely affecting film, Sunstroke screens again during the Brazilian festival this Thursday (6/10) at the Tribeca Cinemas.

Cine Fest Petrobras Brasil ‘10: Time of Peace

WWII was a complicated period in Brazilian history. Though President Getúlio Vargas originally seemed to favor the Axis powers, FDR’s “Good Neighbor” campaign eventually brought Brazil into the war aligned with the Allies. The only Latin American country to send troops to the front, Brazil became a haven for both Jews escaping persecution and National Socialist war criminals fleeing justice after the war. One former political enforcer now finds himself charged with ferreting out the latter from amongst the shiploads of refugees arriving with the war’s conclusion in Daniel Filho’s Time of Peace (trailer here), which screens at this year’s Cine Fest Petrobras Brasil in New York.

Segismundo needs new orders. The war is over, but the Vargas administration has yet to send down new procedures for peace time. Recognizing a new breeze is blowing, they have released a number of political prisoners. Segismundo’s highly placed patron recommends he lay low for a time, but he is not one to hide from danger. Instead, he does his duty as he sees it, starting with the interrogation of a suspicious Polish immigrant who speaks flawless Portuguese.

For Clausewitz, Brazil represents not just a fresh start, but a land of innocence. Turning his back on his former life and the horrors of war, he intends to work in his adopted country as a farm hand. However, he quickly discovers he will have to draw on his skills as an actor to negotiate Segismundo’s cross examination.

Peace is a radical departure from Filho’s film at last year’s festival, the body-switching popcorn comedy If I Were You 2. Adapted by Bosco Brasil from his own stage play, it remains nearly a two-hander despite the presence of a fairly large supporting cast, including Filho himself appearing as a former doctor and political prisoner bent on revenge.

Clearly, the heart of the film involves the verbal sparring between Clausewitz and Segismundo, who offers the confused Pole safe passage if he can tell a story that brings tears to his eyes. While such a set-up is unabashedly manipulative, the film’s leads give it dramatic credibility. Dan Stulbach instills his Clausewitz with a humane pathos, in both Portuguese and Polish. However, by avoiding clichés of both the guilt-ridden torturer and the fanatical true-believer, Tony Ramos’s performance as Segismundo is particularly nuanced and intriguing.

With an elegant classical soundtrack composed by ECM recording artist Egberto Gismonti, Peace is definitely a prestige picture. In the tradition of Schindler’s List, it ends with a tribute to the many European Jewish immigrants made significant contributions to post-war Brazilian society. Though glossing a lot of thorny historical context, it is an undeniably heartfelt film. Classy and effective, Peace screens again during the Brasil Fest this Friday (6/11) at the Tribeca Cinemas.

Cine Fest Petrobras Brasil '10: The Well Beloved One

Their mayor is an oafish oligarch and their local newspaper editor is an avowed Marxist. Between the two of them, one small Brazilian resort town will have no peace during the fateful summer prior to the military coup in Guel Arraes’s The Well Beloved One (trailer here), which opened the 2010 Cine Fest Petrobras Brasil in New York last night.

There might be trouble brewing nationally, but the beachfront town of Sucupira seems like an idyllic refuge. After all, nobody has died there since the mysterious “Zeca Devil” gunned down the previous mayor in cold blood. Perversely, this low mortality rate causes trouble for his successor, Odorico Paraguaçu, who has staked all his political capital on building a new public cemetery. Unfortunately, he cannot inaugurate it without a corpse and he needs to do something fast to get leftist newspaper editor Neco Pedreira off his back.

Based on original source material written by the late Dias Gomes (whose play was adapted into Keeper of Promises, currently the only Brazilian film to win the Palme d’Or Award at Cannes), Beloved honestly takes shots at both sides. Paraguaçu is indeed a buffoon, but Pedreira is clearly a fanatic. So intent on seeing the rightwing mayor fail, the yellow journalist fabricates news of a shark attack to chase away the Sucupira’s summer holiday business. Though the Mayor might endure more mockery due to his greater screen time, he is also somewhat more sympathetic, in a weirdly human way. Indeed, it is arguable Sucupira would have been much better served had Pedreira given him a chance to govern without trying to sabotage the town’s economic base.

The comedy of Beloved is about as broad as it gets, but it is often quite amusing. With its splashy color palette and effervescent soundtrack (which includes songs by Caetano Veloso), it is more an exercise in light farce than weighty political satire. In that spirit, Marco Nanini gleefully chews up all the scenery that is not nailed down as the endearingly corrupt Mayor. Unfortunately, sometimes going over the top can be a bit embarrassing, like Matheus Nachtergaele as his rather mousy and effeminate assistant.

Not exactly tightly scripted, some Beloved scenes seem overly pat, like the courtship between the Mayor’s daughter and Pedreira’s photographer. Still, with its warm, inviting beaches and seductive soundtrack, it definitely captures the spirit of Dolce Vita. It is definitely a film that makes you want to visit Brazil, making it a fitting choice to launch the Petrobras Brasil Festival. It screens again this Wednesday (6/9) at the Tribeca Cinemas.