For six decades, the cinema of Nelson Pereira dos Santos has projected Brazil into the eyes of the world. Precursor of Cinema Novo, Nelson was, more than a director, he was an ideologue, a thinker of his country.
For this behemoth, Bressane took his opera omnia and edited it in an order that first adheres to historical chronology but soon starts to move backwards and forward. The various pasts – the 60s, the 80s, the 2000s – comment on each other in a way that sheds light on Bressane’s themes and obsessions, which become increasingly apparent and finally, a whole idea of cinema reveals itself to the curious and patient viewer. Will Bressane, from now on, rework The Long Voyage of the Yellow Bus when he makes another film? Is this his latest beginning? Why not, for the eternally young master maverick seems to embark on a maiden voyage with each and every new film!
In 1965, a year after the military coup in Brazil, an oasis of freedom opened in the country's capital. The Brasília Film Festival: a landmark of cultural and political resistance. Its story is that of Brazilian cinema itself.
Grande Otelo, pseudonym of Sebastião Bernardes de Souza Prata OMC (Uberlândia, October 18, 1915 – Roissy-en-France, November 26, 1993), was a Brazilian actor, comedian, singer, producer and composer. He was an artist in Rio's casinos and in the so-called revue theater, he participated in several successful Brazilian films, including the famous chanchadas in the 1940s and 1950s, which he starred in in partnership with the comic Oscarito, and the film version of Macunaíma, made in 1969. He is often cited as one of the most important actors in Brazilian history.