Political art: diversity of race, gender and religion in

“Monkey”! Saulo hears the insult of a classmate, doesn’t take the insult home and drops the material of the student who cursed him. The teacher, who only saw this moment of the scene, expels Saulo from the classroom. The plot portrays something commonplace in the life of Saulo, a young man from the outskirts of Fortaleza, Ceará, scripted in the feature “Cabeça de Nêgo”, a production that addresses, in addition to other agendas, structural racism in Brazilian society. The story told is that of Saulo, but it brings to the cinema screens the daily life of many young Brazilians, as the film’s director, Déo Cardoso, points out: “my protagonist, he is a very common character, very present in all groups , in all schools, which is that figure of a leader, but a leader who does not fulfill the stereotype of what a leader is”.

The film addresses a discussion about racism and the precariousness of the Brazilian public education system. Produced and distributed by Corte Seco Filmes, it made its world premiere at the Tiradentes Film Festival, in 2020, where it received a standing ovation at the end of the session. It stars Lucas Limeira and also features Jessica Ellen, Nicoly Mota, Jennifer Joinley Carri Costa, Mateus Honori and Val Perré. It is playing in cinemas in Aracaju (SE), Curitiba (PR), Fortaleza (CE), Manaus (AM), Palmas (TO), Porto Alegre (RS), Rio de Janeiro (RJ), Salvador (BA) and São Paulo. Paulo (SP).

In “Cabeça de Nego”, the racial agenda is present not only for what is seen on the screen, the complete work, since its process reveals the power and sensitivity of a cinema made by a black director, with actors and production in its mostly blacks. “I feel responsible for building this legacy, for guiding these issues within entertainment, because I cannot forget that cinema is a narrative art. So, I think it’s very important to make this racial agenda within cinema, which is a powerful tool, both for entertainment, for us to follow, for us to enjoy the work, as well as for the political agenda. Because I really believe in this symbiosis, in this union, in this politicization through entertainment”, defends Déo Cardoso.

:: Zózimo Bulbul black cinema exhibition in virtual and face-to-face mode starts on Wednesday (27) ::

The feature film made its national debut on the commercial circuit on October 21, with expressive audience rates in theaters throughout Brazil. “Cabeça de Nêgo” was included in the list among the 15 films nominated to represent Brazil at the Oscars, in the category “Best foreign film”. Winner of 2 awards (Award for Best Feature Film and Mostra Olhar do Ceará, by the Cine Ceará 2020 Festival, and Best Feature Film by the Cearense Film Critics Association), it was the most watched feature at the Mostra de Cinema Negro Zózimo Bulbul ( 2020), has already gone through about 12 festivals and is on display in several rooms across the country.

female protagonism

Along the same lines of representation, the short film “Arreda Homem que Chega Mulher” was also shown this month at Cine São Luís, in Fortaleza. Three women, Umbanda, and Mãe de santo live under the pedagogy of Senhora Pombagiras. This is the narrative of the documentary short film, also produced in Ceará, which records the daily life of Telma, Cristina and Elisa and their respective terreiros, with the premise of understanding how these spaces can be schools for the formation and emancipation of women. With a predominantly female cast, in front and behind the camera, the film is directed by Renata Monte and executive produced by Luana Caiube.

For the director, the idea of ​​the documentary is to show all the female potency that sprouts within the living spaces in the terreiros. / Photo: Camila de Almeida

For the director, the idea of ​​the documentary is to show all the female power that sprouts within the spaces of experience in the terreiros: “our idea was to build a film that not only addresses their lives, but also addresses the issue of terreiros being educational spaces , school spaces in the training of these women, understanding that terreiros are spaces of power for us to grow. And that’s when the film came about”. For producer Luana Caiube, it is essential to tension these spaces and work with female protagonism as a way of occupying places that were usurped from them: “in addition to being terreiro women, we are also the creators of a project about female protagonism here in the state of Ceará , which he calls ‘Fish-woman’. For us, it is of fundamental importance to work on the fronts of female protagonism, trying to take back places that have been disowned for us both in art and in religion, as well as in any place we dare to occupy”.

:: Bolsonaro brings insecurity to freedom of belief, even with the law against religious intolerance ::

Representativeness beyond the work

From movie screens to street discussions, the two works have in common the intention to use the audiovisual as a tool for expression and encouragement when it comes to diversity and representation. On this issue, Déo Cardoso says: “I am a black man, I made a film “Cabeça de Nêgo” with guidelines from the black movement that I believe, but I am fully aware that this is just a vision of blackness, which can have another black person who won’t agree on some topic. The black population, as well as the indigenous population, as well as the LGBTQIA+ population, we are not homogeneous, even within groups, but what matters is to guide these issues, discuss them and aim for the good of all these people who are historically oppressed ”.

For Luana Cauibe, cinema and audiovisual as a whole offer many possibilities. It’s not just about seeing yourself on the screens, that’s why she declares that the bridges have already started to be built: “We’re wanting to build a different path, we want to join forces, we want to know, consume the work of other women, for us to understand where they are replenished and create this network”, he concludes.

For more information about the movies
@cabecadenegoofilm
@_fishwoman

Source: BoF Ceará

Edition: Camila Garcia

Deixe um comentário

O seu endereço de e-mail não será publicado. Campos obrigatórios são marcados com *