BRASIL
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Brava gente brasileira; Como era gostoso o meu frances; Hans Staden; Medicine Man; Amazon Forever
= Lame, Crummy.
= OK, Watchable.
= Good.
= Very Good.
= Great, Classic.
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= Lame, Crummy.
= OK, Watchable.
= Good.
= Very Good.
= Great, Classic.
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AMAZON FOREVER
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Nicolas, a young French filmmaker goes to the Toa Toari reserve in the
Xingu River valley to film the Kuarup ceremony. Nicolas falls in love with
Chief Ayupu's daughter. He adapts to Xingu customs and is recruited to the
cause of fighting the Portuguese loggers who are destroying the forest.
He films the loggers' destructive ways, and films the Xingu defending
their land, and finally goes to Rio de Janeiro and abroad to raise
awareness of the plight of the rainforest. Indigenous actors, authentic
dress and practices, beautiful scenery and a worthy cause all contribute
to this gripping story. Writer-director Jean-Pierre
Dutilleux has also filmed many documentaries on indigenous peoples. Check
out his website at jpdutilleux.com.
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AT PLAY IN THE FIELDS OF THE LORD
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An American pilot flying over Brazil runs out of fuel and lands at an outpost in the rain forest. The local authority persuades him to drop bombs on the troublesome Niaruna Indians (a fictional tribe) in exchange for gasoline. When he sees the Niaruna below, he becomes sympathetic and decides to join them instead, since he is part Sioux. They welcome him as Kisu, the thunder spirit. Meanwhile, Catholic and Protestant missionaries seek out the Niaruna for conversion. Missionary zeal, capitalism, hatred and a fraudulent Sioux all mix explosively to wreak havoc on the Niaruna. It's a complex story marred by cliche characters. Peter Mattheissen's 1965 novel places the story in the Madre de Dios region of Peru, but the the film version is set in Brazil. | ||||||||||||||||||||||
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BIRDWATCHERS (A Terra dos Homens Vermelhos) (La tierra degli uomini rossi)
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When two teenage girls on a Guarani-Kaiowà reservation commit suicide, the
leader decides they must move out of the reservation. They take their bare
belongings and settle on some unused land on a nearby estate. The wealthy
owner of the land gives his overseer a gun to force the Guarani out.
But the overseer sympathizes with the Guarani and cannot bring himself to
use the gun, although he tries to get them to leave. Gradually more and
more Guarani leave the reservation to join the sit-in, and a full-scale
rebellion takes hold. This intense film has several fascinating subplots:
A young man named Oswaldo (played by Abrisio Silva Pedro) foresees the
suicides in a dream, and so he is trained to be a shaman. Oswaldo also
befriends the landowner's daughter, who shows him how to ride a motorcycle.
The film
also explores the relationship between the grim Guarani leader and his
emotionally needy son, who craves guidance during these tumultuous
events. Birdwatchers features Guarani actors, most of whom are
acting for the first time. This is an extremely intelligent, subtle and
unique film. The official Italian title (the director is from Italy) means "The Land of the Red Men," and the Portuguese title is a translation of this. The unfortunate English title "Birdwatchers" refers to the white landowners, one of whom gives a slideshow on birds in a very brief scene.
Resumo em português: |
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BRAVA GENTE BRASILEIRA (Brave New Land)
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In the Portuguese outpost of Fort Coimbra in 1778, a peace treaty tenuously
holds Europeans and Guaicurus in check. Some Europeans respect the treaty,
while others are abusive and exploitive. When some
soldiers attack and rape a group of Guaicuru women bathing in the river,
one young man seeks revenge. We see a dramatic mourning ritual and his
patient determination to kill the Portuguese who killed his girlfriend.
The Portuguese have captured another girl, Anote, and a blond-haired boy
whom they believe was kidnapped (but an unspoken possibility is that he
is the son of an Indian and European, possibly even the son of the white
missionary living among the Guaicuru). This film features beautiful
cinematography, and some fascinating aspects of Guaicuru culture,
including their elaborate tattoos, their practice of infanticide limiting
children to one per person (mentioned in The Mission as well), and
the cudinhos, men who dress as and act like women. Brava Gente
Brasileira won two awards at the Brazilia Festival of Brazilian
Cinema, for Best Actress (Luciana Rigueira) and Best Music. Director
Lucia Murat has a gift for conveying depths of character concisely
through images--a smile, a turned head, a boy pounding a crucifix--so
that the film seems to convey volumes in brief moments, and it comes off
as a quiet, subtle film despite its great historical importance. The
title literally means "Brave Brazilian People," and seems to suggest that
the origins of Brazil's mestizo race are being composed right before our
eyes. The Guaicuru are played by Kaideweu, descendents of the Guaicuru,
who now live on a reservation and number only about a thousand.
Official site:
www.taigafilmes.com/bravagente/
Resumo em português: |
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THE BURNING SEASON: The Chico Mendes Story
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A made-for-TV bio-pic about Chico Mendes, activist and union
leader of the rubbertree cultivators who fought against the wealthy ranchers
who devastate the rainforest in order to raise cattle. The Burning
Season is a run-of-the-mill biopic, but it is worth watching
as an introduction to Chico Mendes' life and the complicated issue of
Amazon rainforest politics. It won numerous awards, perhaps more in homage
to Chico Mendes than for its cinematic merits. Based on the 1990 book,
The Burning Season:
The Murder of Chico Mendes and the Fight for the Amazon Rain Forest,
by environmental journalist Andrew Revkin.
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CARAMURU A Invenção do Brasil
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Diogo Álvares, a dim-witted Portuguese artist, is tricked into stealing a map of hidden treasure in
the jungles of the New World. He is then exiled to same. His boat sinks but he reaches Brazil, and, encountering
Indians, manages to convince them he is a god Caramuru. He marries Paraguaçu, daughter of the chief Itaparica,
but finds that the arrangement includes a free three-way with Paraguaçu's sister Moema. It all seems too good
to be true until Diogo finds out that the Indians plan to eat him. Caramuru is a parody of Como era
gostoso o meu frances (see below).
Resumo em português:
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COMO ERA GOSTOSO O MEU FRANCES [How Tasty Was My Little Frenchman]
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In 1557, a Frenchman is captured by the Tupinamba Indians in the rainforest.
The Tupinamba are friends with the French, but enemies of the Portuguese,
and they believe that this Frenchman is Portuguese because he has not
brought them gifts like the other French they've known. So they decide to
eat him and spend eight months feeding him. During this time, the Frenchman
collects wood for the Tupinamba and is generally treated well. He is even
given a girlfriend, Seboipepe (played by Ana Maria Magalhães). When
another Frenchman comes to trade with the Indians, he refuses to verify
that the captive is French and denounces him as Portuguese. For some reason
How Tasty Was My Little Frenchman is sometimes called a comedy, though it
didn't seem funny to me. Perhaps it could be seen as a satire on the
arbitrariness of nationalism. The film features candid male and female
nudity from beginning to end. The film was remade in the 90s with the
title Hans Staden. Director dos Santos, perhaps most famous for
Vidas Secas [Barren Lives], is considered one of Brazil's greatest
directors.
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O DESCOBRIMENTO DO BRASIL [The Discovery of Brazil]
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In 1500 Portuguese explorer Pedro Álvares Cabral (1467?-1520), with 13 ships and 1500 men,
are blown off course while attempting to circle Africa and end up in the New World.
They drop ancor in a bay later called Porto Seguro (in the
state of Bahia) and exchange gifts with the
Indians. They invite two Indians on board, introduce them to the crew, and give
them food and wine. The two Indians suddenly lie down on the deck and go to sleep, and
the priest brings blankets and pillows and tucks them in. The fleet then sails on to an
island they call A Ilha da Vera Cruz (later renamed Terra da Vera Cruz when it was found
to be a peninsula). Once again the Portuguese befriend the Indians, then commence
to chop down trees to make a great cross. When the cross is constructed and raised, they
hold a mass, bless the Indians, and take turns doing European and Indigenous dances.
The Indians are not played by indigenous actors, though they do speak Tupi (untranslated),
which director Humberto Mauro took the trouble to learn.
O descobrimento do Brasil shows vestiges of the silent era, with printed narration,
minimal dialogue, and theatrical acting. These
anachronisms give the film an archaic feel, and, combined with Heitor Villa-Lobos' score,
cast an epic grandeur upon the otherwise thin plot. Although the film claims to be
historically accurate, the meeting of Europeans and Native Americans is so placid that it
borders on propaganda. Critics at the time suggested that Mauro was endorsing the reforms
of Getúlio Vargas, who came to power in 1930 and sought to recognize Indian rights and
improve their living conditions. After a cold critical reception in early 1938,
Descobrimento never played again and was forgotten for many years. It was
originally an 83-minute film, but the current version, restored in 1997, is only 62 minutes.
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THE EMERALD FOREST
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While an American engineer is constructing a dam in the Amazon River, his son is captured by the leader of an indigenous tribe called The Invisible People. The father spends the next ten years searching for his son in the jungle, but when he finally finds him, the blond-haired boy is a fully-assimilated Indian and a respected hunter in his village. The father realizes that the boy can never go back to civilization, however, the two team up to fight a gang of Brazilians who are kidnapping their women for prostitution, and in the course of getting to know the Invisible People, the father reconsiders his dam project because of the repurcussions it would have on his son's tribe. The Emerald Forest creates a fictional tribe and culture and language based on other Amazon cultures. It is less naturalistic and more fantasy-like than some of the other rainforest movies on this site, its high production values, gripping story, and sexy teen natives make it great introduction to the genre of Native American film for people who might not otherwise watch such movies, and may then be inspired to watch less accessible films such as Jericó or Brava Gente Brasileira. Check out the Emerald Forest Website. | ||||||||||||||||||||||
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O GUARANÍ
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One of several adaptations of the 1857 novel by José de Alencar (1829-1877), this film tells of a forbidden love between Peri, a Guarani man, and Ceci, a European woman. This version stars Márcio Garcia and Tatiana Issa. I haven't seen this film, but it was apparently a critical and commercial flop. Other adaptations were released in 1908, 1912, 1920, 1926, 1948 (an Italian production) and 1979. For all the novel's popularity, it has never been translated into English. | ||||||||||||||||||||||
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HANS STADEN: Lá Vem Nossa Comida Pulando
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Based on the experiences of Hans Staden, a Hessian sailor who was
captured by the Tupinamba Indians in Brazil. The Tupinambas are friends of
the French, while their rivals, the Tupiniquins, are friends of the
Portuguese. The Tupinamba believe Hans is Portuguese because he has not
brought them any presents, and so they decide to eat him as an act of
revenge against the Portuguese. Hans is unable to convince them that he
is German and a friend of the French, even when other Frenchmen come to
visit the village. He can only stave off being eaten by making the
Tumbiambas believe that his god will be angry with them if he is harmed.
Meanwhile, he must witness a cannibalistic ritual performed on
a captured Tupiniquin. Despite the gruesome subject matter, the film is
not excessively gory, though it is unflinchingly realistic.
The natives emit loud whoops, yells and singing that some viewers might
find disturbing, and there is candid male and female nudity
throughout the entire film. Hans Staden won several awards, many
for its cinematography.
Resumo em português:
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INDIA, A FILHA DO SOL
Indian Woman, Daughter of the Sun
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A father and daughter from a Javaé village in the state of Goiás travel with their pet deer to the world of white men.
A soldier gets the father (Rui Polonah) drunk so that he can take off with the girl, Put-Kôe (Glória Pires). After he has
had his fun, Put-Kôe, who speaks no Portuguese, follows him as he continues on his mission to investigate a diamond
extraction business in the jungle village of Jaratataca. The soldier and girl stay together for a while until one day she finds him cooking and
eating her pet deer. She returns angrily to her father in the village. The soldier forgets about her until one day the
father confronts him with his pregnant daughter, demanding that he marry her. The soldier's mission regarding the
diamond business is never fully explained and detracts from the touching story of Put-Kôe. Thus the film is somewhat
unsatisfying,
despite the fine cinematography and Caetano Veloso's soundtrack. The choice of Glória Pires for the role of an indigenous
girl doesn't help much either. She is a talented actress, but just looks too European to play the
role convincingly. Based on the story "Ontem, como hoje, como amanhã,
como depois" ("Yesterday, like today, like tomorrow, like afterwards") by Bernardo Elis (1915-1997).
Resumo em português:
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IRACEMA, UMA TRANSA AMAZÔNICA Iracema, A Trans-Amazonian
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Filmed in a starkly realistic documentary style, this film shows the effects of the Trans-Amazonian Highway that was cut
through the rain forest in 1972. Iracema
(Edna de Cássia) is a young woman of Indian appearance who seeks a living as a prostitute by hitchhiking from town to
town along the highway. She is picked up by various men, who treat her with varying degrees of crudeness. Along the way
we meet other people who talk about how the highway has affected their lives: farmers who saw their land taken from them
because they had not documentation of ownership, loggers who did the hard work of blazing the trail only to find the
price of wood dropping when the highway came. At the
beginning of the film Iracema meets the worldly trucker Tião, who is optimistic about Brazil's progress, and she haggles
over her services, starting at 30 cruzeiros. At the end of the film, several mishaps later, Iracema meets Tião again,
though he does not recognize her at first. Tião has lost his logging truck and is now transporting cows and making less
money than before. Iracema asks for a ride, now asking only 5 cruzeiros, and Tiao leaves her behind. Iracema was
filmed in 1975 but was not released commercially until 1981 because of censorship. Iracema is the only major Indian
character; the forest's aboriginal inhabitants, who suffered most from the highway, only appear as passing shadows in
the onslaught of progress.
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KUARUP
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Based on the 1967 novel Quarup by Antônio Callado. Nando, a Jesuit priest
(played by Taumaturgo Ferreira) is frustrated by Church authoritarianism
and the doctrine of celibacy. Don Anselmo (Dionísio Azebedo) reassigns
him to the Xingu missionary settlement. Fearing temptation by the naked
natives, Nando is encouraged by a sexy English reporter (Maitê Proença)
who seduces him. Stopping at Rio de Janeiro on his way to the Xingu,
Nando meets the authorities who are creating a national park in the Xingu,
but he learns that their true motive is to gain political control of the
region. He arrives at the missionary settlement in time for the kuarup,
an elaborate ceremony celebrating the creation of humans. Returning to his
original post in Recife, Nando finds that Don Alselmo has been assassinated
by a friend of his. Disenchanted, Nando returns to the Xingu and embraces
their culture and their cause.
Kuarup was said to be the most expensive Brazilian film ever made
up to that time. High production values and Fereirra's powerful performance
enhance this sweeping critique of modern Brazil.
Resumo em português:
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A LENDA DE UBIRAJARA (The Legend of Ubirajara)
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Based on the classic 1874 novel Ubirajara, Senhor da lança, the
third in a trilogy of Indian-themed novels by José de Alencar.
Ubirajara ("Lord of the Spear") is the son of Camacan, chief of the Araguaia
people. He sets out incognito on a canoe to earn
the name of a warrior. He spots a Tocantim girl on the shore, chases after
her, and loses her. He then battles Pojucã, the mightiest Tocantim warrior,
and brings him back to his tribe as a captive, thereby earning the name
of warrior. But Ubirajara has fallen in love with Araci, the girl on the
shore. He cruelly rejects his current girlfriend, offering her as a tomb-bride
to the captive Pojucã, and heads to the Tocantim village to claim Araci.
He proclaims his intentions to the chief, Itaquê, and easily wins the
wrestling contests required of a suitor. Thus Ubirajara and Araci marry,
but no one knows that Araci is the brother, and Itaquê the father, of the
captive Pojucã. When the truth is revealed, a war breaks out between the
two villages. Spoken entirely in the native language of Karaja, and
with mostly native actors, this pre-Columbian adventure is one of the
most naturalistic films on Indians. Action, romance, and skimpy thongs
should make it a crowd-pleaser even for those who can't read the Portuguese
subtitles. Click here for an English translation of the film.
Resumo em português: |
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MEDICINE MAN
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An eccentric scientist (Sean Connery) believes he has found a cure for cancer in the Juju flower that grows high in the trees, 100 feet up in the canopy of the rain forest. Dr. Rae Crane (Lorraine Bracco) arrives to bring equipment and review his work. Expecting a research assistant, Dr. Campbell is aghast to find that the scientist is not only a woman, but his supervisor. Veering uncomfortably close to romantic comedy, Medicine Man is saved by beautiful footage of the rainforest and its inhabitants (played convincingly by native-looking actors) and a valuable message about the twin dangers of deforestation and greedy pharmaceutical corporations. Though some of the comedy is enjoyable (such as Dr. Crane's experience with a powerful stimulant derived from bark), Medicine Man might have benefited from a more intense exploration of its vital themes. | ||||||||||||||||||||||
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NO CORAÇÃO DOS DEUSES
(In the Hearts of the Gods)
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A group of adventurers set out to find the treasure of the martyrs, following the trail of
a recently discovered map from the 17th century. Along the way they encounter the fierce
Arae Indians (who sadly no longer exist; they are played in this film by the Kraho Indians).
Based on the 1920 novel A Bandeira de Fernão Dias by Brazilian writer Paulo Setúbal (1893-1937).
Resumo em português:
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A SELVA (The Jungle)
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Alberto (Diogo Morgado) is an aristocratic young man exiled from Portugal. Fleeing to Brazil, he finds a job at a rubber plantation which faces frequent attacks from the Parintintin Indians. The film focuses more on internal fueding at the plantation and Alberto's infatuation with a married woman, Yayá, than on the Indians. The Parintintins only appear in a few scenes and are unambiguously portrayed as the enemy. High production values do not mask bland acting and unfocused direction. A Selva was a coproduction of Portugal, Brazil, and Spain, and was based on the 1930 novel by Ferreira de Castro. | ||||||||||||||||||||||
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TAINÁ: UMA AVENTURA NA AMAZONIA
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Taina (Eunice Baía) is a little girl living in the Amazon. After the death of her parents
and grandfather she wanders from her home and is taken in by Isabel (Branca Camargo), a
white scientist studying herbal medicine. Taina discovers many foes among civilization:
Isabel's jealous son Joninho; a poacher who wants to steal Taina's pet monkey, Catu; and
a rival scientist who tries to thwart Isabel's discovery of a jungle fever vaccine.
Beautiful footage of the jungle and its creatures make this film enjoyable for kids and
adults. Followed by Tainá 2: A Aventura Continua (2004) and Tainá 3: A Origem (2011).
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TREASURE OF THE AMAZON
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From B-movie sleazemeister René Cardona Jr. comes this laughably bad jungle adventure about a trio of rogues looking for diamonds in the Amazon. A blurb at the beginning claims that the story is based on true facts that occurred in 1959, though the country is not stated. Emilio "El Indio" Fernández, in one of his late-career embarassments, plays Paco, a hotel owner surrounded by gun-armed Indians and sexy women. He warns all guests that they must declare anything they bring out of the jungle. Hemingway lookalike Stuart Whitman plays El Gringo, a hardened adventurer who once saw his friends beheaded by Indians. El Gringo is returning to the Amazon to find the diamonds he left behind. In the jungle the three rogues contend with wild animals, Paco's armed Indians, some wilder Jibaro Indians with blowdarts, a group of rival diamond-hunters, a voluptuous warrior woman named Morimba, and her unlikely Nazi partner Klaus, who plans to recreate the Third Reich in Argentina. The story and acting are ridiculous, but on the plus side there is plenty of action and some good wildlife footage. The movie also meets Jungle Exploitation Film requirements of women wrestlers, beheadings, man-eating crabs who eat a man's face and eyeballs, and fingers that continue to wiggle after separation from the body. Get the picture? | ||||||||||||||||||||||
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XINGU
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The story of the Villas-Boas brothers and their struggle to establish a protected area in the Amazon where Indians could govern themselves without invasion
or interference by whites.
Official site: www.xinguofilme.com.br
Mais velho dos irmãos, Orlando é o articulador entre as etnias indígenas e o poder oficial, responsável por brecar a ingerência externa. Já Cláudio, é o grande
idealista e o mais consciente da contradição da expedição – “Nós somos o antídoto e o veneno”, diz. O caçula é Leonardo, vibrante e corajoso. No entanto, suas
atitudes podem causar um preço alto para a aventura dos irmãos.
Numa viagem sem paralelo na história, com batalhas, 1.500 quilômetros de picadas abertas, 1.000 quilômetros de rios percorridos, 19 campos de pouso abertos,
43 vilas e cidades desbravadas e 14 tribos contatadas, além das mais de 200 crises de malária, os irmãos Villas-Bôas conseguem fundar em 1961 o Parque Nacional
do Xingu, um parque ecológico e reserva indígena que, na época, era o maior do mundo, do tamanho de um país como a Bélgica.
Na aventura, os Villas-Bôas conseguem passar pelo território Xavante, de índios corajosos e guerreiros sem nenhuma baixa de ambos os lados. Em seguida,
deparam-se com os Kalapalos, os famosos e temidos que teriam matado o explorador inglês Percy Fawcett. Mas, apesar de toda a apreensão e ao contrário do que
imaginavam, os irmãos ficam amigos do grande chefe Izarari, e se encantaram com a cultura e os costumes locais. Não previam ainda que ali viveriam a primeira
tragédia de suas vidas: um surto de gripe, trazido por eles mesmos, que quase dizima toda a aldeia.
Ao recontar a saga dos irmãos, Xingu apresenta a luta pela criação do parque e pela salvação de tribos inteiras que transformaram os Villas-Bôas em heróis
brasileiros, traçando diálogo com problemas crônicos do processo de formação brasileiro.
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Alexandre et Luc en Amazonie [Alexander and Luke in the Amazon] (Alain Kerjean) [in French, 26 min.]
Aimbere, tuxana do Brasil
Aldeia
Amazon Diary
Brasil, la guerra de l’or
Cachoeira (Waterfall)
Consequences (Claire Soares, 2008, 15 min.)
Esses e outros bichos (Assorted Animals)
Gold Rush in the Rainforest
O guardado (The Saved)
Mato eles? (Should I Kill Them?)
Moyngo, o sonho de Maragareum
O mundo magico do A'ukre
Naia e a lua (Naia and the Moon)
Segredos da mata (Secrets of the Jungle)
Storyteller
Txêjkho Khãm Mby (Women Warriors)
Alma Corsaria (Carlos Reichenbach, 1993)
Amazon [TV series starring C. Thomas Howell] (1999)
Amazone (Philippe de Broca, 2000)
Anchieta, Jose do Brasil (Paulo Cesar Saraceni, 1977)
Arara, Os (Andrea Tonacci, 1981)
Aruanã (Libero Luxardo, 1938, 75 min) (fiction/documentary on the Javehes)
Avaeté: Semente da Vingança (Zelito Viana, 1985)
Cabeças Cortadas [Cut Heads] (Glauber Rocha, 1970)
Capitalismo Selvagem [Savage Capitalism] (André Klotzel, 1993)
Caramuru: A Invenção do Brasil (Guel Arraes, 2001)
Cineasta da selva, O [The Filmmaker of the Jungle] (Aurélio Michilis, 1997)
Concerto Campestre [Country Concert] (Henrique de Freitas Lima, 2005)
Confissões de Frei Abóbora [Confessions of Brother Abobora] (Braz Chediak,1971) [based on the novel by José Mauro de Vasconcelos]
Desmundo (Alain Fresnot, 2002)
En la tierra del guarán [In the Land of the Guarani] (1934) [made in Argentina]
Die Farbe der Indios (Klaus Lautenbacher, 1987)
Fim da linha (Gustavo Steinberg, 2008)
Gran Final, La [The Great Match] (Gerardo Olivares, 2006)
Guaranis, Os (Benjamin Oliveira, 1908)
Guarani, O (Paolo Benedetti, 1912)
Guarani, O (João de Deus, 1920)
Guarani, O (Vittorio Capellaro, 1926)
Guarany (Riccardo Freda, 1948) [made in Italy]
Guarani, O (Fauzi Mansur, 1979)
Heróis Trapalhões, Uma Aventura Na Selva (José Alvarenga Jr., 1988) [kids' movie]
Idade da terra, A [The Earth in Anguish] (Glauber Rocha, 1980)
Iracema (Vittorio Capellaro, 1917)
Iracema (Vittorio Cardineli, 1949)
Iracema, a Virgem dos Lábios de Mel (Carlos Coimbra, 1979)
Jivaro (Edward Ludwig, 1954) [made in USA]
Manaos (Alberto Vázquez Figueroa, 1978)
Mario (Hermanno Penna, 1999)
A young doctor travels to the Amazon to leave behind the problems in his life.
Palavra e Utopia [Word and Utopia] (Manoel de Oliveira, 2000) [based on life of Antônio Vieira]
Sermões: A História de Antônio Vieira (Júlio Bressane, 1989)
Siri-Ará (Rosemberg Cariry, 2008)
Ubirajara (Luiz de Barros, 1919) (based on novel by José de Aléncar)
Uirá, um índio em busca de Deus [Uira, An Indian in Search of God] (Gustavo Dahl,
1973)
Urubu: Story of the Vulture People
George P. Breakston & Yorke Coplen, 1948, English, 66 min.
George Breakston e Yorke Coplen partem de Los Angeles para o Mato Grosso em busca de um explorador desaparecido
nas selvas há 25 anos. Durante a expedição, acontecem vários incidentes como a luta com um jacaré e um índio
comido por piranhas. A expedição não encontra o explorador, mas alertado por um médico branco, eles conseguem
resgatar uma professora branca capturada pelos índios Urubu. No momento em que estão para partir, descobrem o
corpo de um homem branco, porém ficam sem saber se era o cadáver do explorador que tinha motivado a expedição.
SHORT FILMS:
Paulo Verissimo, 1979, 12 min.
Aimbere, líder tupinambo del siglo XVI, regresa a su lugar de origen 4
siglos después y se encuentra con una convulsionada ciudad.
Geraldo Pioli, 2000, 11 min.
A Jesuit priest attempts to teach the ten commandments to a Guarani village in the colonial period.
Robert Nixon, 1989, 12 min, in English.
A Kayapo community see their lands being destroyed by white men. They travel to Altamira
to participate in the Encuentro de las Naciones Indígenas de Xingu, the historic Meeting
of Indigenous Nations.
Película ficcionada que narra la historia de un niño kayapó y su comunidad, quienes
enfrentan la destrucción de sus tierras. Ante esta situación deciden viajar hasta Altamira,
donde se celebra un encuentro de naciones indígenas, para denunciar lo que sucede en su
territorio.
Joan Salvat, 1986, 30 min.
En primer lugar fue la tierra. De la tierra nació Omán, que fue el primer hombre. Nadie
hacía compañía a Omán. Por eso cogió una espuma oscura y con ella creó a los yanomami. De
una espuma más clara creó a los hombres blancos. Después Omán repartió a los hombres por
el mundo y les dio tierras. La mejor de todas fue para los yanomami.
Sergio José de Andrade, 2010, 14 min.
Based on a true story. A group of young indians from Rio Negro takes part in rituals with
a blend of beverages and suicide.
Renato Neiva Moreire, 1979, 22 min.
Los indios y animales se enfrentan, en la selva amazónica, a los invasores de sus tierras.
John Sandberg, Jan Peterson, 1989, 54 min., English.
A history of the Tukano people, from their first contact with Europeans to the exploitation
of gold in their land.
El film hace un recorrido por la historia del pueblo tukano, desde los primeros contactos
con la población "blanca" hasta que comenzó la explotación de oro en su territorio. Ante
esta situación los tukano tuvieron que ingeniárselas para controlar tanto a los mineros
como al proceso de explotación de oro.
Marcelo Felipe Sampaio and Paulo Alvarenga, 2010, 13 min.
A man living in a big city moves to Mato Gross do Sul to live with the Kadiweus. There
he has a mystic experience and discovers a 200 year-old legend that haunts the village.
Sérgio Bianchi, 1983, 55 min.
El docudrama analiza el problema de los indios de la reserva Mangueirinha al sudeste de
Paraná en un tono abierto e irónico. Su lenguaje innovador sorprendió a muchos, marcando
un hito en la cinematografía brasilera de los años 80. Basado en el texto Paraná Nativo
de Jaco Cesar Piccoli.
Karané, Kumaré, and Natuyu Ikpeng, 2003, 44 min.
Part dramatization and part oral storytelling, this film recreates the myth of the origin of the tattooing ceremony among
the Ikpeng. The chaman Maragareum dreams that everyone in the neighboring Eptxum village has died. Arriving
in this village, he finds, in fact, that everyone is dead. As night falls, he hides in the hut, and observes
the Moyngo tattoo ceremony from the spirits of the dead.
João Luiz Araujo, 1991, 30 min.
En un esfuerzo por implementar programas de desarrollo autogestionario y conservacionista,
una comunidad kayapó instaló en su territorio una pequeña industria, con el objetivo de
extraer y procesar, comercialmente, el aceite de la nuez de Paró.
Leandro Tadashi Duarte, 2010, 13 min.
Uma jovem indiazinha de nome Naiá se apaixona pela lua ao ouvir a anciã de sua aldeia
contar a história do surgimento das estrelas no céu. Uma belíssima adaptação da lenda
indígena sobre o nascimento da vitória-régia, misturando animação e atores reais.
Dominique Gallois & Vincent Carelli, 1998, 37 min.
In Portugese, Spanish and Waiapi.
Nos muestra cuatro fábulas sobre monstruos caníbales, narradas
e interpretadas por los indígenas waiapi de la aldea de Taitetuwá.
Incluye: Kanha Makuí (O segredo do invisivel), Akukusia (O dono da caça),
Anhá Tapirae (A flecha mágica do canibal) y Anerao (O morcego canibal).
John Paul Davidson, 1990, English, 50 min.
Los mitos son la llave para entender el universo social y moral de los waura. Aruta
cuenta una vez más el mito del espíritu del caimán, mientras que otros miembros de la
comunidad teatralizan la narración, espontáneamente, frente a la cámara.
Kisêdjê community and Video nas Aldeias, 2011, 11 minutes.
A myth about a secret relationship between a girl and her brother gives rise to the revolt of a warrior woman.
Docu-drama.
