Cinema Novo Film Review :
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Eryk Rocha (‘Transuente’) premiered his documentary in the Cannes Classics sidebar.
When asked what he thought about the label given to him and his fellow French auteurs by the press, director Claude Chabrol once apparently quipped: “There’s no New Wave — there’s only the ocean.”
He was of course trying to play down the hype of a cinematic revolution that he had helped to create, while underlining how hard it is to classify any filmmaker into a single category. Yet despite Chabrol’s witticism, the label not only stuck but spawned several like-minded movements throughout the world, in countries like Czechoslovakia, Japan, Germany, the U.S. (the “New Hollywood”) and also Brazil.
The latter wave, known as the Cinema Novo, is the subject of a new feature-length documentary essay by Eryk Rocha — son of legendary Brazilian auteur Glauber Rocha, who was sort of the Cinema Novo’s Jean-Luc Godard and responsible for some of the most groundbreaking works (Black God, White Devil, Antonio Das Mortes) of his time. (Keeping it very much in the Novo family, the doc was produced by Diogo Dahl, who’s the son of another major figure of the group: Nelson Pereira dos Santos, director of classics like Barren Lives and Rio 100 Degrees F.)
Cinema Novo is a movie-essay that investigates poetically the most important movement of Latin America cinema, through the thoughts of its main auteurs: Nelson Pereira dos Santos, Glauber Rocha, Leon Hirszman, Joaquim Pedro de Andrade, Ruy Guerra, Walter Lima Jr., Paulo César Saraceni, among others.
When asked what he thought about the label given to him and his fellow French auteurs by the press, director Claude Chabrol once apparently …An impressionistic homage to the movement that changed Brazilian film forever, “
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