Cinema Novo (2016) - full transcript

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.

In Brazil, in the 1960's,

with an idea in their heads
and a camera in their hands,

moviemakers from
Cinema Novo movement

made films with the
ambition to change the world.

It was an era where art, utopia
and revolution got together.

An adventure of
creation, friendship,

nonconformity, with
brand new ideas.

That presented new
images of Brazil to the world.

This is the temple of
magic. The dream factory!

The mantle of memory!

I can give you rivers of tears!

In this land, the only worthy
men are those who use their guns

to change their fate.

Not the rosary, Satan.

The rifle and the dagger!

To create a Brazilian image following
our ambition to transform Brazil.

- A cinema of disruption.
- An act of courage!

- Complete audacity.
- Grammar.

- Expression.
- "Newcap".

A new capital, Bossa Nova.

Cinema Novo.

It started with Mario Peixoto,
Humberto Mauro and Alberto Cavalcanti.

The dreams of Brazilian people,
effectively portrayed on the screens.

In history, the revolutionary result
of a process of cultural formation...

We knew we needed to be
the protagonists of that story.

Cinema, cinema, cinema.

We are talking about cinema.

Mauro is the founder of
the Brazilian cinematic style.

He's the pioneer of Cinema Novo.

And his cultural relevance matches
that of Villa-Lobos, Guimarães Rosa

or Portinari.

We cannot ignore Mauro now
and we can ignore him in the future.

If the current generation has
learned so much from his framing style,

his poetic atmosphere, his
social and human commentary,

future generations will have
even more to learn from him.

In time, his work becomes
classical, deeper, more resistant.

Nelson, Nelson
Pereira dos Santos.

The first time...

I was near him or
felt his presence

was during all that fuss...

about "Rio 40 Degrees".

I watched movies but I'd
never thought of making them.

I watched films
constantly, every day.

It was playing at the America
on Saenz Pena Square.

Lots of queues and
lots of conversations.

That was very important.

Then I went to see Nelson. I made
a point of watching "Rio, North Side",

Some shootings of "Rio, North
Side". Nelson told me to grab a chair.

Because I wanted to know what
was that cinema business all about.

I teased her but she
didn't even bother

and told me to go back to
school and learn the ABC.

So, I told her,
"Come and teach me then."

Brunette, come a little closer.

Come, brunette, come
teach me the verb to love.

Here I am. Brunette, come

give me your love.

I was afraid of Nelson!
What is this guy up to?

Because he was always quiet,
his presence was magnetic,

he attracted a lot of people.
But, at the same time, fearsome.

Nelson, Ruy and Luis
Carlos were the eldest.

But, at that time, I was
most afraid of Nelson.

And Nelson's presence
was very... He had his ways.

He never told you what to do but
you'd end up doing what he wanted.

He had his ways of making
you do what he wanted.

And he was a beacon for us.

In the very beginning,
it was just a human,

individual impulse.

Obviously, with the support of
a big group of people who really

wanted to make cinema
in a new and different way.

But the truth is we never
started from scratch.

All had worked making
films before. But we were also

interested in getting Brazilian
cinema in touch with its own reality.

To integrate Brazilian cinema
to its own cultural reality.

We came upon a
cinematographic void in Brazil.

When "chanchada"
started to decline.

Television started,

and those films weren't
profitable anymore.

It was already a main issue
for our movement, Cinema Novo,

a main issue for
to question society,

our bourgeoisie society.

It was the collective awareness

that human problems
weren't individual,

but a part of a specific
moment in history.

Awareness that Brazil
is a part of the third world.

This will of discovering
Brazil also led us

in some cases, in quite
an accomplished manner,

to discover a style, a storytelling
language that's quite Brazilian.


"Cat Skin" was born in an
argument at Joaquin Pedro's house.

We were a bunch of
people pitching scripts.

We pitched the scripts, discussed
them and decided what to do next.

So, together, we could get what
we needed. Support, even political.

Together, not dispersed
in different projects.

Let's do that one! "Cat Skin".

It was the foundation
for "5x Favela".

From there, the Center
for Popular Culture

sent a proposal
so Miguel Borges,

Marcos Faria, Caca Diegues and
me could do four more episodes

to put together
and make "5x Favela".

Our generation
completely understood that,

for being a big industry,

it was attached to the economic,
political and social problems in Brazil.

So, before developing a cinematographic
awareness, Brazilian filmmakers

developed political
awareness of the phenomenon

They found out that, to make cinema,
they had to make the revolution first.

That stance changed the
cultural landscape completely.

The role of the
filmmaker changed.

The birth of the cinema from Bahia
with "Redemption" by Roberto Pires,

my film, "The Backyard", "Bahia de
Todos os Santos" by Trigueirinho Neto,


- Sing it again, my love.
- Ai, ai, ai.

Cinema Novo has two origins:

Bahia and the CPC
(Center for Popular Culture).

Caca Diegues, Leon Hirszman,
Miguel Borges, Amaldo Jabor

and Joaquim wanted to make
cinema. A new cinema for Brazil.

There was a manifesto in a section
of the newspaper "Jornal do Brazil"

with the neo-concretists: Ferreira
Gullar, Lygia Pape, Lygia Clark.

And we made our own:
Manifesto Cinema Novo.

The name was "Cinema-cinema",
but it was nicknamed "Ball-ball".

Those who made films in Brazil came
from completely diverse backgrounds.

We discussed cinema, talked
about cinema, vomited cinema.

That was enough to make
the placenta that bonded us.


weird and simple phenomenon

was the result of an
encounter between people

who then became
very close friends.

There's always some bar involved
when we talk about Cinema Novo.

Cooperation was the key.

Mostly because we
liked each other's films,

and not because we were
friends. We were friends because

we liked each other's films.

We were not into those
heavy Hollywood machines.

We didn't want to
shoot inside studios.

We wanted to shoot exteriors,
the streets, that living thing.

The was excitement because
of this new thing between

cinema, the camera and reality.

The means to make
those films, those new

to approach reality were
somehow already there.

Shooting with natural light,

exteriors, on location,

in the streets...

He really let the
cameras out in the streets.

He didn't want to
disguise Brazilian reality,

or to portray it in a
distorted or lees faithful way.

And he looked for themes,
a certain kind of people.

He really threw the
cinema at the people.

He turned the cameras
to people's problems,

what we thought were
the people's problems.

I believe cinema will
change a lot from now on.

From the camera to the streets,
from the camera to problem.

From the camera, from closed
doors, to have an open discussion.

"A camera in hand,
an idea in the head",

more than concept of language,

was a production method.

Our culture in Brazil, of not
having such a separation, so fierce,

so radical between genres,

imaginary or real,

between sacred and profane.

There was a very radical scission
between documentary and fiction

and we didn't stick to it.

Because at that time, the aesthetics
of Cinema Novo were being created.

There wasn't a frame of
reference to talk about aesthetics,

and everything was Cinema Novo.

It had much more to
do with generations

than with the
articulation of an ideology,

or anything like a
frame of reference.

It was being invented
as it was created.

In Arraial do Cabo,
away from civilization,

fishermen live a primitive life.

Under the laws they
created themselves.


Nine fishermen
taking turns every day.

In their constant and fierce
dialogue with the fish and the sea.

Seven on board, all
ears to the watchman

who, together with
the birds of prey,

waits for the fish to appear.

And the last one in the
beach, handling the fishnet.

The light in the Arraial
is extremely intense.

Because it's a reflector
made of sand, right?

The ground is completely
white, it has more contrast than

anything around its.

Except for the sun,
maybe or if it's cloudy.

But the sky is blue
most of the time.

The sea is resplendent,
a fantastic blue.

What's interesting in that film
has a lot to do with that look

which came from engravings,
paintings, and so on,

and took over the
cinematography of that film.

I was ready to make engravings,
went on to make cinema

and ended up making
an engraving on film.


despite starting out as direct
cinema or direct documentary,

because of problems
with the footage,

ended up being a
montage of archival material.

And I really enjoyed editing
that film, it was pyrotechnic.

Many things in it I
didn't like, others I did

From then on,

I started reacting to that
and looking for purer values.

Values which could...

resist my harshest criticism.

Which led me to
"The Priest and The Girl",

which, as a film,
always got in my nerves,

it had always irritated
and annoyed me.

And that's the way
the film was made.

It can be seen in its form.

The film is very static, its
framing, is very constrained.

They say priest's
women become wraiths.

Headless mules.

I don't know if it's the
devil or god inside my body.

One line was cut short.

See this little
line cut in half?

A beautiful inclination, interrupted,
the priest. That's where you cut.

And the music.

We'll use the music
from the theater.

Here, cut.

We were editing "5x Favela"
and that amazing thing happened.

Ruy Guerra was
editing my episode,

and Nelson Pereira dos
Santos was editing Leon's.

So, we would meet every
day and I watched Nelson,

because there was
only one moviola,

watched Nelson edit Leon's film,

and Leon watched Ruy edit mine.

At the time. Nelson was also
editing Glauber's "Barravento".

Nelson edited "São Diogo's
Quarry", and "Absolute Majority",

my first two films, both shorts.

And that editing work, with
the moviola, the whole thing...

We felt we were two filmmaker
staking over the moviola.

We had taken it and were
discussing cinema in a new level.

It wasn't just editing this or that
film, we were discussing cinema itself

and everything that was going on.

I don't mean you cant
do that with an editor but

between filmmakers, you get to

the creative field, the projects, other
films, maybe in a more fertile way.

It was very positive
for me, and my work.

After that, I went on to
make "The Deceased".


30's literature, regional
literature, Graciliano, Jorge Amado,

José Lins do Rego,
Erico Veríssimo.

Each of them tried to
express in their own way

the rescue of the social and
popular reality in their regions,

and also their
storytelling style.

Cinema Novo followed that.

I think he has his region,

as a foundation for
his reality, his realism.

But I think he transcends
that. For his own themes,

he transcends the
regional aspect.

It seems he's portraying Brazil

and also the third world.

- Where did you work?
- At the Santa Terezinha plant.

- What did you do there?
- Sugarcane. Weeding cane fields.

How much did you make there?
I worked from 5:30am to 7:00pm

and made 700 cruzeiros.

Everyone was making
the same amount?

Yes. It's impossible
to get more, right?

I'm a farmer and I need
to buy a kilo of flour, to eat.

That's horrible, humiliating.

We are all farmers here,
there's a world of land around us

and I need to
buy a kilo of flour.

Who buys a kilo of flour,
are people from the city

because they're workers
who don't work the land.

But what do we farmers do?
Those are the landowners.

Who take the lands for themselves
and don't let us plant anything.

Those who were being
exploited, oppressed and silenced

needed space on the screens.

But there was also a need to allow
every filmmaker their own expression

as they evolved.

Somehow, we were breaking
up with the movement.

It wasn't a movement
as a stylistic unity,

as was the case with certain
filmmakers from neorealism.

Or even certain filmmakers from
the golden age of Soviet cinema.

Filmmakers are close to each other in
terms of narrative and cinematography

but you see a bigger difference.

This is my city.

My big city.

People dreaming in the seaside.

They are happy and singing.

Making a carnival out of we.

Singing we dove evil away.

In this city of love.

From radical Rosselinians,
like Paulo César Saraceni

to Fordians, like Walter Lima Junior,
Eisensteinians, like Leon, obviously,

the neorealists, like Nelson..

It had the ambition, national
and international, of synthesizing.

Italian neorealism, Russian
revolutionary cinema,

the spectacle of
American cinema.

The formal evolution of Nouvelle Vague
with the traditions of Brazilian cinema,

which were few but existed,

To reign in the island,
to reign in the island.

- My wife is possessed by the devil!
- It's a lie it's a lie!

Tomorrow it'll rain gold! The
desert will turn into the sea!

Lies! Lies!

The sea will turn into a desert!

Lies! Lies!

We can only get to the island

if we wash the souls of the sinners
with the blood of the innocents!

Glauber's role was never letting
us think we had won the war.

Never letting us think that
things ever got to an end.

Things were always
critical, always changing.

When you achieve victory,
you must start all over again.

You can't just sleep
on your laurels.

We didn't just like each other,
we were growing into each other

more and more finding
things in common.

Let's go.

Come on, damn you!

Get up.

Come on it's over there!

There're soldiers around.

I was waiting for a sign!
I dreamed of the end!

Today, we die!

Die, how? Are you nuts?!

When you dreamed
of it it was over!

I saw the devil's
rifles shoot twice!

One for each eye!

Yours Virgulino!

Cast your jinx aside.

Who'll ever shoot my eye?

I'm protected by Priest Cicero.

But it was a sign, a sign!

It will be at the crack of dawn.

Here in my burrow,
only if it's you.

If you betray me, I'll kill you.


Leave him!

Enough! Enough! Enough!

Brazil is a seaside civilization.

It grew along 7000 km
of coastline.

Nevertheless, they
are all men of the inland.

Because Brazil's biggest
problem is immigration.

We are all men
who long for the land.

And when we have the
means to talk about something,

through journalism or cinema.

We are always
drawn to that longing

and to the struggle in the
isolated inland of Brazil.

As we say in Brazil, orphans.

People with no mother or father.

They are real orphans for
they live in complete dereliction.

I believe any filmmaker who
wishes to say anything that matters,

or whatever matters to him,

must translate it...

to the oscillating balance
of the modern world.

In my films, I try to talk about
reality in all its complexity

which is really hard.

But I also want to show
what affects men, individuals.

I'd like to make an epic film.

But I don't think
I'll be able to.

I don't think I can show a
character without showing

all its ties to the
structure, of the country.

Believe there's something
in common in all our films

I think it's the awareness of...

a specific kind of

All characters in
our films are real.

They are people who
existed until the forties,

when I was in the northeast
of Brazil as a reporter.

First, I talked to people who
had met these characters.

And even characters like
Antonio Das Mortes, the hitman

in the film, once existed
and killed 40 brigands.

And also Corisco, who's still
alive and gave me an interview.

He also told me some stories.

Then I talked to his wife,
who also told me some stories.

Read several books,
mostly popular poetry.

There are many books in Brazil,
popular songs about these characters.

Someday, there will be
a major war in this desert.

A big war, God and
the Devil will be looking.

To get this war started,

I, who have killed
Sebastião, will kill Corisco.

And then die, once and for all.

We are all the same thing.

In '64, we had three films in
Cannes. Two in the competition.

"God and the Devil"
and "Barren Lives".

And one in the "Critic's Week",
my film "Ganga Zumba".

In that same year, "Porto das Caixas"
had won an award in the north of Italy

Ruy Guerra had "The Rifles"
and had won an award in Berlin.

That was the year when
Cinema Novo made its name.

Cinema Novo was
discovered by European critics,

Italian and French, mostly.

And we started to hobnob with the
guys from Cahiers du Cinema in France.

Carlos Diegues,

Glauber Rocha, Roberto Faria,

Paulo Cesar Saraceni,

Joaquim Pedro de Andrade,

Leon Hirszman, Geraldo Sarno,

Eduardo Coutinho,

Walter Hugo Khouri, Ruy Guerra,

Alex Vianny, who
also made films,

Vinicius de Moraes who
collaborated in some films.

Future Brazilian filmmaker
and critic, Gustavo Dahl,

Edgar Morin,

Jean Rouch,

I forgot Margot Benacerraf,

from Venezuela.

Claude Antoine, defender
of Brazilian cinema,

Marco Belocchio...

Cinema Novo went international
in '62 at the Third World Seminary

organized by Columbianum,
a Jesuitical agency in Genoa,

which gathered all
cinema from Latin America.

There was a retrospective
in Santa Margherita Liguri.

They showed "The Big Fair",
"The Promise".

'62 was the year
of the Palme d'or

and Cinema Novo was beginning,
"Cat Skin" won Oberhausen...

Cinema Novo usually took
the European style aback.

Wealthy well-behaved.

That combination
of freedom and...

Brazil already gave
those films a strength

that made them
known first abroad,

in international festivals.

And then, in an always
colonized dynamic,

the recognition had
an internal impact.

I was in Italy when
I got the invitation

to invite as
assistant director...

Lucchino Visconti in the
shooting of "Murdered House".

I answered with a letter,
saying I'd invite no Visconti,

and I would direct
"Murdered House".

When I got here, it was a mess.

Jânio Quadros had resigned.

The producers had a misunderstanding
and the film wasn't made.

So, Lucio Cardozo and me went
around the state of Rio de Janeiro

looking for locations to
make "Murdered House"

and found this place
called "Porto das Caixas".

Why didn't you
come by yesterday?

You should have
seen me yesterday.

I thought I'd go insane.


I waited all night long.

Joaquim, how's your
relationship with the critics?

With some of the
critics, very well, I believe.


never resented criticism
or anything like that.

And I think
Brazilian film critics,

from newspapers and magazines,

is really very small, if we
think of how it could be.

It could play a more important
role, it could be more complex.

That need for stardom, to
make an easy impression,

sometimes creates
a kind of critic...

better suited for
weekly magazines.

As for newspapers, I'm not reading
newspapers from São Paulo much.

The ones from Rio are quite
sclerotic when it comes to film critic.

Which are really the big
problems with Cinema Novo?

Now for you in aesthetic
economic, political terms.

The big current aesthetic problem
for Cinema Novo is economical.

I think our big aesthetic problem, the
grave aesthetic risk for Cinema Novo

is to be taken over
by foreign companies.

In Brazil, it's possible to revitalize
a new and influential artistic theory.

I'm not trying to be a prophet...
I've always studied the case rationally

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

of creating a new cinema.

One thing is to win the audience,
like Joaquim did with "Macunaíma",

to exploit the audience
is a different thing.

Filmmakers want the
adventure of conquest.

Come! Come! Come!

If you're thinking of escaping,
I'll never eat anyone anymore!

Nelson Pereira dos Santos,
Glauber Rocha,

Carlos Diegues, Joaquim Pedro,

Leon Hirszman, Roberto Santos,

Roberto Farias, Júlio Bressane,

Gustavo Dahl, Walter Lima,

Maurice Capovila.

Carlos Diegues, in Cinelândia,
visits the theaters where

"The Big City" premieres.

With him is producer Zellito
Viana, producer extraordinaire.

A group of directors
got together

around a company to
distribute their own films.

That year, 80%
of Brazilian films

shown in the country
were distributed by DiFilm.

Everybody wanted their
films distributed by DiFilms

because we fought for the films.

We didn't fight for the
company, we fought for the films.

DiFilm came out of
the need of a group

which makes films with shared...
political and cultural views

to organize themselves
and better place those films

in the Brazilian
exhibition market.

Our films,

are usually restricted
to small venues,

are released in
mainstream theaters.

And, despite all our work,

that still represents only a 70% of
their potential presence in the market.

Brazilian productions must
find their markets spontaneously

and not become
some kind of beggar.

We need to put an end to
this unbelievable situation,

that's been going
on for 70 years,

where Brazilian cinema is
marginalized in its own territory.

What do you think
of national cinema?

National cinema, despite its
best efforts, is still kind of weak.

National cinema is cool,
great, I love it, you dig?

It's better than American cinema.

What do you think
about National cinema?

I don't like it.

- And you?
- I like it, yes.

I think it's cool.
The actors, most of all.

If we don't solve the problem of
exhibition, nothing will be solved.

We need to free up the venues.

Every state should
have free venues

to exhibit different things

when we produce them

and not imitations, for example,

or these films that think
they follow the popular taste.

The infrastructure of Brazilian
TV was set up by the state,

investing millions of dollars.

Cinema never had
any infrastructure,

They only invest in the superstructure,
which creates dependency, paternalism.

We must solve
that infrastructurally.

Run brother, run!

Cinema Novo lives a
fundamental contradiction.

None of us can sleep well
until we solve that problem.

Our cinema is popular for
its disposition, its appetites

But, actually, the people
don't go see our films.

We need to continue the fight

to penetrate the
consciousness of the people,

to show the audience
what we want to say

and seduce them at the same
time. That's a contradiction.

Truth is we are up against
the majority of Brazilian people.

A new cinema, facing the people.

This contact, still aggressive,
is sought through films which

try to unveil Brazilian reality.

To face an audience that has been
formed by mainstream cinema for years.

Sign of its time, this young Brazilian
cinema is necessarily controversial.

The fight has just begun.

In a country like ours,
everything is yet to be done.

Your film "Antonio Das
Mortes", is extremely violent.

It reaches paroxysm in the
depiction of physical violence

and French audiences
have reacted accordingly.

Some are talking about
gratuitous provocation,

others say it's a concession to
the spectators' lowest instincts,

How do you explain it?

You know Latin America
is a violent continent, bloody.

Even when such tradition
is generally hidden.

I faced that problem,

because I couldn't hide
that violence, that character,

that behavior people have.

If I had cut those
scenes of violence,

I'd become a censor myself.

We read on the newspapers, every
day, that people kill with 40 shots,

50, 45 stabs.

That's the truth, not poetry
or a symbol, the truth.

I'm not promoting
blood for the blood itself.

There wasn't a border
between public and private.

Public and private lire were
all one and the same thing.

The loved woman and
revolution were the same thing,

country and cinema
were the same thing.

Hollywood films are as terrible

as films that have
to be political,

that have to be dogmatic,
that have to be anything.

Freedom is lost.

If we lose freedom and democracy
we can't make any poetry.

It's impossible to
make a political film.

I want political films that
are also the best poetry.

The coup of '64 was
led by Castelo Branco,

together with the
Brazilian oligarchy.

Brazilian bourgeoisie,
afraid of communism,

didn't want to install
a military dictatorship.

In other words, a Brazilian
bourgeoisie, allied to imperialism,

and how these military
sectors, liberal fascists,

wanted to get rid of Goulart and
establish a fascist liberal regime,

They didn't want the country to
be seen as a military dictatorship.

Goulart didn't fear a coup d'etat
because he believed there was

a very strong popular organization,
capable of resisting the coup.

But that popular organization
was only superficial.

When small leftist factions of
the army tried to arm the people,

there were no guns and the
people was already dispersed.

They tried to call
for a general strike

but they found that the communist
units were completely ineffective

when they needed to
deal with the people.


ultimate hope for
the Brazilian people,

of the most progressive force
and also ours, young people.

After hearing the members of the
National Security Council have decided

to sign the institutional act

in order to preserve
the revolution

of March 1964.
So, we are able to...

Walking through this
atmosphere of anxiety

which generates
distrust, discomfort,

and tries to harm
the regime we defend,

we need to sign
this institutional act.

President Costa e Silva,

solemnly sworn under the
terms of the constitution,

promising to respect it, to
promote the well-being of Brazil

and to defend its
integrity and sovereignty.

"Eight squad members dead
in the night of the big massacre."

You can't be divided like that.

Poetry and politics are
too much for only one man.

I'd love it if you
could stay with us.

Write again.

I don't herald songs of peace

and the flowers of
style don't interest me.

I eat a thousand
bitter news every day.

They define the world I live in.

Dawns don't cause me...

the same pain they
did in my adolescence.

Peacefully, I give
back to the landscape,

the vomits of experience.

The victory of the
regime was to separate us.

To set us apart and to turn the
Brazilian cinematographic experience

into an individual experience.

It's all in here.

Arms, faces...

Guts, all alive.

Moving and walking
like things, like people.

I'll bring forth
poisons and leprosies.

Speeches that eat
away rust bone and wood.

I'll bring to in machetes,
hot lead and gunpowder.

I'll bring forth a mussurana,
long like the river.

And spill out blood,

more blood and still
blood, and always blood.

And blood that never stops
being blood, until all is blood

and blood is all!

Until the slumber of the sun,
until the slumber of the moon.

Until the slumber of green,
until the slumber of men.

Until the slumber of time.

I'll give birth!

I'll give birth until
it's all a rotten mass!

Until it's all poison. Until
everything kills everything.

Until the rotten
stinks its own stink.

Until I kill life...

And this world doesn't have
more room or time even for death.

No smell, no death.

I don't think you can talk about
culture without talking about politics.

And you can't talk about politics
and not talk about individual liberties.

To talk about the atmosphere
where culture is created.

Is more important than discussing
the economy or censorship.

It's about everyday life, right?

Culture in the sense of social
relationships and human creativity

in a certain country, in
a certain moment in time.

If a filmmaker keeps talking
about his bad economic situation,

he's forgetting a basic aspect
of it all, which is participation.

Everyone's need to participate in the
general process of Brazilian society.

And there can only be
participation when there's no fear.

I think that, 4 years from
now, people will understand

they must see our films.

I think they'll be convinced
that this cinema is necessary

for them to witness their own
lives, the current history of Brazil.

Your fight is only
getting started, then?

We are willing to continue.

We'll continue, at
any cost, we'll go on.

There's no fortune
without blood!

The power of the
people is stronger!

The Cinema Novo
movement doesn't exist.

But the idea of
Cinema Novo does.

The idea is eternal,
new is eternal.

That idea will live on.