Brazilian Cinema’s Bold Response to Political Challenges

As Brazil grapples with the rise of autocracy, its cinema is stepping up to play a crucial role in the nation’s evolution. The lineup of Festival do Rio captures the essence of the new cultural zeitgeist under President Luiz Inácio Lula da Silva, who is advocating for the support of the film and television industry amidst political turbulence.

A prime example of this is “Amanda and Caio,” which features a fully transgender cast and addresses the challenges faced by the trans community. “At a time when the trans community is under attack on so many fronts, this movie moves in the opposite direction,” says producer Diana Almeida. Meanwhile, “Sistermaids” explores not just racism but also colorism—discrimination based on skin tone. All five titles are crafted by young Black filmmakers or transgender casts, standing firm against ultraconservatism.

Championing Inclusivity in Storytelling

One of the standout elements of “Amanda and Caio” is its relatability, even with a transgender cast. The experiences of Amanda and Caio resonate universally. Similarly, “Clarice And The Stars” moves away from the marginal narratives often seen on screen, providing a rich and inclusive cinematic experience, as noted by writer-director Leticia Pires. The involvement of Vinicius Jr. reinforces the project’s mission to create a meaningful representation for those who have rarely seen themselves in cinema, adds Marcos Pieri, a creative producer at Aurora E². Likewise, “Sistermaids” started as a reflection on how racism and colorism shape familial ties, according to director Carol Rodrigues.

The Surge of Funding in Brazilian Cinema

Under former President Bolsonaro, Brazil’s independent Tribunal de Contas da União (TCU) froze new incentives from the Fundo Setorial do Audiovisual (FSA), the country’s major federal film and television funding body, due to accountability concerns. However, new federal, regional, and additional funding sources are revitalizing Brazil’s film industry. All five showcased titles have received FSA funding, while “Clarice” was supported by the Rio de Janeiro funding agency RioFilme. The Paulo Gustavo Law for COVID-19 recovery funding played a key role in completing the financing and securing post-production for “Sistermaids.” Additionally, “Virtuous Women” received a grant from the Santa Catarina government.

Exploring Gender Through Women-Led Genre Films

Few cinematic movements in Latin America are as exhilarating as the rise of women-led films that challenge or redefine genre conventions to question perceptions of gender. Notable examples include “Good Manners,” “Medusa,” “Clara Sola,” and “Huesera.” Within this selection, “Sistermaids” incorporates elements of the supernatural or magical realism. “Virtuous Women” stands out as a feminist horror film that transcends the typical “final girl” trope, exploring the psychology of complex and flawed women who navigate and exploit distorted faith, as described by director Cíntia Domit Bittar.

Showcasing the Featured Films

“Amanda and Caio,” (“Eu Vou Ter Saudades de Você,” directed by Daniel Ribeiro)

After seven years together, Amanda and Caio decide to move in together. While he dreams of a future with her, she aspires for something beyond their relationship. When Amanda meets João, their love story takes a turn. The logline suggests, “Some loves fade. Others transform.” This relationship drama, produced by Ribeiro and his long-time collaborator Diana Almeida at São Paulo’s Lacuna Filmes, may very well be the first feature film to showcase a completely transgender cast, according to Almeida. “Rooted in affection, complexity, and transformation,” Almeida describes the film as a breakup story that feels intimate and real—centered on trans characters while also connecting emotionally with a broader audience.

“Clarice and the Stars,” (“Clarice Vê Estrelas,” directed by Leticia Pires)

In “Clarice and the Stars,” an eight-year-old girl named Clarice learns she must make room for a new sibling, a revelation that leaves her feeling sidelined in her parents’ affections. Amidst this emotional upheaval, Clarice discovers a magical book in the attic that transports her to the enchanting world of Circus Aquarius, where she learns to confront her fears and embrace her imagination. This film is described as “a deeply personal and poetic vision of childhood, imagination, and resilience,” according to producer Marcos Pieri. “Clarice” is led by Pires’ Luminar Filmes, a company established to create opportunities for individuals historically excluded from the film industry, and is co-produced by Instituto Vini Jr. and Aurora E², whose film “Magdalena” competed at the 2021 Rotterdam Film Festival and San Sebastian’s Horizontes Latinos strand.

“Sistermaids,” (“Criadas,” directed by Carol Rodrigues)

“Sistermaids” is described as a psychological drama infused with supernatural elements, crafted by a team of Black women, including producer and director Julia Zakia. The story revolves around Sandra, who returns to her cousin Mariana’s childhood home. Both women are Black, yet the world perceives their skin tones differently. As they reconnect, long-buried memories resurface, bringing to light the ghosts of their childhood, lineage, and enduring love. Having won three awards at the 2017 BrLab and an honorable mention for screenwriting at the 2020 Frapa, “Sistermaids” is a poignant exploration of forgiveness, self-forgiveness, and healing amidst violence, according to Rodrigues.

“Virtuous Women,” (“Virtuosas,” directed by Cíntia Domit Bittar)

In a unique setting, “Virtuous Women” takes place at an exclusive retreat for virtuous Christian women that spirals into chaos and horror when faced with a dark witch legend. This film marks the feature debut of Cíntia Domit Bittar, whose previous work, “Summer Ball,” won best short at the Cartagena Film Festival in 2019. Through a blend of dark humor, sharp social critique of ultraconservatism, and an unnerving atmosphere, the film presents a thrilling journey of power and paranoia while shedding light on the dangers of underestimating reactionary women’s movements, as described by producer Ana Paula Mendes.

“We Are Not Dreaming,” (directed by Ulisses Arthur)

Described by Arthur as a sexy rebellious drama, “We Are Not Dreaming” was selected for Brazil’s Incubadora Paradiso as part of Projeto Paradiso, where its script development was guided by acclaimed director Marcelo Gomes, known for “Cinema, Aspirins and Vultures.” The story follows Ciro, a medical student who also teaches pole dancing to his friends, as he navigates the complexities of life when a delay in his grants forces him to move into the apartment of Antônio, a DJ. Arthur emphasizes that the film captures the rhythm and ambition of young Black Brazilians striving for social mobility and reshaping a country historically dominated by whitewashed structures.