Cinema Novo

00:01:00 In Brazil, in the 1960's,

00:08:13 Mauro is the founder of the Brazilian cinematic style.

00:10:51 give me your love.

00:13:09 but a part of a specific moment in history.

00:15:24 - Sing it again, my love. - Ai, ai, ai.

00:19:28 Shooting with natural light,

00:24:39 or anything like a frame of reference.

00:27:34 And I really enjoyed editing that film, it was pyrotechnic.

00:30:35 At the time. Nelson was also editing Glauber's "Barravento".

00:33:32 - What did you do there? - Sugarcane. Weeding cane fields.

00:35:16 Singing we dove evil away.

00:42:58 Come on it's over there!

00:46:10 and to the struggle in the isolated inland of Brazil.

00:48:47 There are many books in Brazil, popular songs about these characters.

00:51:13 I forgot Margot Benacerraf,

00:52:59 So, Lucio Cardozo and me went around the state of Rio de Janeiro

00:56:00 and tried to see with an open mind the elements for the process

00:58:28 are usually restricted to small venues,

01:00:14 They only invest in the superstructure, which creates dependency, paternalism.

01:02:24 because I couldn't hide that violence, that character,

01:09:52 a very strong popular organization, capable of resisting the coup.

01:14:00 I don't herald songs of peace

01:17:53 Until it's all poison. Until everything kills everything.

01:24:23 That idea will live on.