Scorched Earth

VIDAS SECAS aka BARREN LIVES (1963), a Brazilian film by Nelson Pereira dos Santos.

You don’t have to believe in climate change to experience and understand the devastating effects of a drought. The northeastern part of Brazil is no stranger to this condition which has plagued the region for decades yet people continue to live there. If you are a wealthy landowner, you can survive the seasonal hardships but if you are a poor migrant worker, life is a constant struggle. Vidas Secas (English title: Barren Lives, 1963), directed by Nelson Pereira dos Santos, is the portrait of a family of four and their dog as they wander the arid deserts and sun-baked landscapes of northwestern Brazil in search of work, water and food. Set in 1941 and covering a two-year period in their lives, the film is considered a landmark work in the Cinema Novo movement, which emerged in the late fifties and focused on marginalized communities and people, often using non-professional actors, real settings and black and white cinematography in the manner of Italian Neorealism. 

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The Lost Souls of Sao Paulo

Long Day’s Journey into Night is the title of Eugene O’Neill’s Pulitzer Prize winning 1956 play but it could also serve as a succinct capsule description of numerous movies from the 1960s that were clearly influenced by Michelangelo Antonioni’s L’avventura (1960) and its themes of alienation and existential despair. Some examples include Giuseppe Patroni Griffi’s Il Mare (1962) which follows three strangers on the isle of Capri during a bleak winter season as they try to connect with each other. Jean-Luc Godard’s Alphaville (1965) depicts a dystopian futuristic society in which a detective finds himself out of place in a modernistic Paris controlled by an oppressive artificial intelligence. And Jacques Demy’s Model Shop (1969) uses the urban sprawl of Los Angeles and its smog-creating car culture as a backdrop to an unemployed architect’s search for meaning in his life. Yet, the most Antonioni-like film of all and the least known is probably Noite Vazia (1964) by Brazilian director Walter Hugo Khouri, which traces a dusk-to-down encounter between two men and two women amid the sterile cityscapes of modern Sao Paulo.

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