Brazilian cinema has consolidated itself over the decades as an important form of cultural expression, reflecting the country’s social, political, and religious complexity. Through the productions, cinema in Brazil has addressed deep themes such as social inequality, identity issues, and religiosity, showcasing the diverse facets of Brazilian society.
However, this trajectory has not always been this way. The development of national cinema has gone through different phases and challenges, and the way religion and culture are portrayed has evolved over time. So here is your guide to dive into the history of Brazilian cinema, highlighting some of the most important eras and milestones that have shaped its identity over the years.
The Beginning (1900)
The first films made in Brazil were primarily short documentaries that depicted everyday scenes. However, with the arrival of the 20th century, cinema began to spread, and movie theaters became more common, especially in Rio de Janeiro and São Paulo. As cinemas grew in popularity, film productions also started to expand.
The first cinematic productions in Brazil were low-budget and technically rudimentary, but even so, they marked the beginning of fiction filmmaking. Most of these works were focused on comedy, although there were also some dramatic productions.
In the beginning, around 1909, a popular genre emerged in Brazilian movie theaters: the “filmes cantados”. At that time, the films were silent, and to make the experience more appealing, cinema owners began hiring actors and singers to dub the films live. This new genre attracted a considerable audience, especially in theaters in São Paulo and Rio de Janeiro.
From the 1910s, Brazilian cinema faced increasing competition from foreign films, particularly from Hollywood. The massive arrival of American films in Brazil intensified after World War I – a period when the United States experienced significant economic expansion. These foreign films were often of superior quality compared to the national productions of the time.
Despite this strong international influence, Brazilian cinema found new vitality in the 1930s with the rise of the “chanchada” films, which revitalized the local film industry.
Chanchadas (1930)
“Chanchadas” were a type of Brazilian film characterized by being musical comedies. However, this style of humor cannot be considered an exclusive creation of Brazil, as similar films were common in other countries. When the genre arrived in Brazil, local critics viewed it as lowbrow entertainment, which led to the emergence of the term “chanchada” – a word which may have come from Spanish and means “garbage” or “junk.”
Despite some rejection from critics, these films were hugely successful. This genre highlighted one of Brazil’s greatest cultural icons: Carmen Miranda,who starred in films such as Alô, Alô, Brasil and Alô, Alô, Carnaval.
New Cinema (1950)
The Cinema Novo movement emerged during a period of significant transformations in Brazil, marked by growing dissatisfaction with the political and social structure of the time. The repression and censorship imposed by the military regime strongly influenced film production. The movement was also driven by a critique of traditional cinema models and a search for a more realistic and socially engaged aesthetic, influenced by European auteur cinema, such as the French Nouvelle Vague. In this context, the filmmakers of Cinema Novo sought to represent Brazilian reality in a more raw and direct way, addressing social, political, and economic issues, with a particular focus on the poorer and marginalized classes.
Cinema Novo was not only an attempt at aesthetic innovation, but also a form of political and cultural resistance, aiming to give a voice to the excluded and reflect the complexity of Brazil during a turbulent period in the history.
Two of the most famous directors of this era are Nelson Pereira dos Santos and Glauber Rocha. Nelson Pereira dos Santos gained international recognition with Barren Lives (1963), which, based on the book by Graciliano Ramos, addresses poverty and the struggle for survival in the northeastern backlands.Glauber Rocha, in particular, was one of the movement’s main theorists and filmmakers, responsible for iconic films such as Black God, White Devil (1964), a landmark work that blends reality and symbolism to criticize the conditions of rural Brazil and social oppression.
Cinema of Resurgence (1990)
After a period of crisis in the 1970s and 1980s, marked by a lack of funding and a shortage of audiences, Brazilian cinema underwent a “resurgence” starting in the 1990s. This phase was driven by public policies that supported cinema, such as the creation of Ancine (National Cinema Agency) and the Audiovisual Sector Fund.
The Cinema of Resurgence is characterized by a greater diversity of themes and aesthetics, with a focus on stories that reflect the social and cultural reality of Brazil. Films from this period began to gain international recognition as well as popularity both in Brazil and abroad. Representative films of this era include Central Station (1998), by Walter Salles, which explores complex human relationships and the search for a better future within the Brazilian context; City of God (2002), by Fernando Meirelles and Kátia Lund, which depicts the violence and social inequality in Rio de Janeiro’s favelas; and A Dog’s Will (2000), by Guel Arraes, an adaptation of Ariano Suassuna’s work that blends elements of Northeastern Brazilian culture with social and political criticism, becoming a major success. These films were milestones of this new phase in Brazilian cinema, which brought to light stories with deeper social and cultural relevance.
Brazilian Films, Actors, and Directors of Exceptional Success
As mentioned earlier, Brazil has produced films that achieved enormous success and have strong critical and cultural significance. These films, which were internationally acclaimed and awarded, have left a lasting mark on Brazilian history and cinema. Here is a list of works and talents that – for me – truly deserve recognition for their impact and contribution to the global stage.
Notable Brazilian Films:
- God and the Devil in the Land of the Sun (1964) – Directed by Glauber Rocha, this iconic film of the Cinema Novo movement is a symbolic narrative of rebellion, faith, and violence in Brazil’s Northeast.
- Barren Lives (1963) – Its an adaptation of Graciliano Ramos novel portrays the harsh life of a family struggling to survive in the arid Brazilian Northeast, directed by Nelson Pereira dos Santos.
- A Dog’s Will (2000) – This comedy-drama is inspired by the book of Ariano Suassuna, blends humor, social critique, and folklore, directed by Guel Arraes
- Central Station (1998) – Directed by Walter Salles, this touching story about a former teacher helping a boy find his father earned Fernanda Montenegro an Oscar nomination.
- City of God (2002) – The film is a global hit that depicts life in a violent Rio favela through the eyes of a young photographer, directed by Fernando Meirelles and Kátia Lund.
- Elite Squad (2007) – Directed by José Padilha, this intense action film about Rio’s elite police squad became a national and international sensation.
- The Second Mother (2015) – It’s a touching film that talks about the explores of class and family dynamics in São Paulo, directed by Anna Muylaert.
- Bacurau (2019) – Directed by Kleber Mendonça Filho and Juliano Dornelles, this genre-defying film tells the story of a village under attack, blending suspense, western, and social commentary.
Renowned Brazilian Actors:
- Fernanda Montenegro: A legendary actress and one of the most iconic figures in Brazilian cinema, Fernanda is internationally renowned for her Oscar-nominated performance in Central Station (1998). She has an extensive career in film, television, and theater, earning a place among the greatest actresses in Brazil.
- Fernanda Torres: Following in her mother’s footsteps, actress and director Fernanda Torres has become one of Brazil’s leading talents. She has earned acclaim for her work in both drama and comedy and is currently starring in I’m Still Here (2024), which is generating significant attention and has been nominated for an Oscar.
- Wagner Moura: Known globally for his role as Pablo Escobar in Narcos and his portrayal in Tropa de Elite (2007), Wagner Moura has become an international star. Recently, he further solidified his fame with a role in the film Civil War, starring alongside Kirsten Dunst.
- Selton Mello: An actor and director, Selton Mello is widely recognized for his roles in A Dog’s Will (2000) and The Clown (2011), the latter of which marked his directorial debut. He is currently starring alongside Fernanda Torres in I’m Still Here (2024), a film that has earned Oscar nominations.
- Alice Braga: Niece of Sônia Braga, Alice Braga has built a successful career in both Brazilian and international cinema. She gained fame with roles in City of God (2002) and I Am Legend (2007), and continues to be a leading figure in Hollywood with her work in Queen of the South (2016-2021).
- Rodrigo Santoro: Known internationally for his role in Love Actually (2003) and the TV series Westworld (2016), he is a huge success in Brazilian soap operas and achieved international recognition with roles in high-profile films and series across both Brazil and abroad.
Renowned Brazilian directors
Now I’m gonna mention some directors who have stood out in Brazil for creating award-winning and extremely popular films that have made a significant mark in the history of Brazilian cinema. Let’s know about some of them.
- Walter Salles is a renowned director in Brazilian cinema, known for his ability to tell emotional and realistic stories, often exploring social and cultural issues. His career took off with the acclaimed Central Station (1998), a film that was not only a major success in Brazil but also received international recognition, including an Oscar nomination for Best Foreign Language Film. He is currently starring a new movie with Feranada Torres and Selton Mello as the protagonists. The film is in theaters and has been nominated for an Oscar.
- Fernando Meirelles is one of Brazil’s most globally recognized directors, particularly for his work on City of God (2002), one of the biggest international successes in Brazilian cinema. Meirelles’ innovative work on the film earned him several international award nominations and brought him to the global spotlight. He also directed The Constant Gardener (2005), a British film that was a major success and received numerous award nominations, further solidifying his international career.
- Kleber Mendonça Filho is one of Brazilian new generation of filmmakers. He gained international recognition with the film Aquarius (2016), starring Sonia Braga. Mendonça Filho is also known for his earlier work, Neighboring Sounds (2012), which addresses social and political issues within the context of Brazil’s middle class. His directorial style is characterized by a critical sensibility and a keen eye on social tensions.
- Glauber Rocha was a pioneering Brazilian director and one of the key figures of the Cinema Novo movement in the 1960s. Known for his bold and revolutionary approach to filmmaking, Rocha explored social and political issues in Brazil, often using experimental techniques and symbolic imagery. His most famous works include Black God, White Devil (1964) and Terra em Transe (1967), which challenged traditional cinematic norms and offered a critical view of Brazilian society. Rocha’s work had a profound impact on both Brazilian and international cinema, and he remains a foundational figure in the history of film.
So that ‘s it! This was your guide to learning more about Brazilian cinema and its history. Have you watched any of the films mentioned, or do you have an emotional memory or connection to something I discussed in this article? I hope so, and that you were able to understand a bit more about the richness and importance of our cinema. Brazilian cinema is a reflection of our culture, our struggles, and our stories, and learning more about it is a way for us to connect even more with who we are and what we’ve already achieved in the audiovisual world.
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The article above was edited by Fernanda Miki Tsukase.
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