Rocha que Voa Page #2

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for its own image.

We didn't want to see

a mirror that reflected...

our most external side...

we wanted to see ourselves

in a poetic mirror...

one that reflected the deepest

side of ourselves.

That was our thesis,

mine and Glauber's.

The vanguard intellectuals

of today...

they don't want to be called...

intellectuals.

Not that they feel guilt...

for being intellectuals

or for not deserving it...

not because they think

their function is useless...

to engage in philosophical

and artistic speculations...

or in scientific research.

No, on the contrary.

It's, above all,

because they value more...

this capacity that man has

to produce for the collectivity...

which is what intellectuals

don't want to be anymore...

an elite character.

And "elite" in quotes...

because he was always

submissive...

economically or morally

to the interests of aristocracy...

or of bourgeoisie.

So the intellectual...

is no longer that and...

became a man integrated

to society...

like a working man

or any other man.

And when he gives up

this position...

and identify socially

with the other classes...

of men who...

work in the society,

he identifies and penetrates...

more deeply into these problems...

and produce an art that,

for example...

does not talk about the people,

but be the voice of people.

That is, it's no longer

the artist's work...

where art is revolutionary...

where social science

is revolutionary...

where philosophy is revolutionary.

There's a ideological and

professional community...

that justifies my presence

in Cuba...

because I've come to Cuba

to work for a while...

with my friends here.

I feel at home here...

because I feel there's

no difference...

either ideologically

nor technically...

nor professionally

or culturally in my work...

or in the dialogue

with Cuban filmmakers.

The performing arts...

like, for instance,

cinema, theater...

and music are kinds of art

which can only develop...

with the collective creation.

That is, it's impossible...

to make a theater about

the people, for example...

or for the people,

without the people...

having an effective

participation in it.

Because the artist always

approach reality...

without the scientific knowledge.

And this lack of scientific

knowledge prevent him from...

it's true, it prevents him from having

a rigorous knowledge of society...

and because he lacks

this knowledge...

he can have a further intuition...

and conscience about

certain problems.

Art today is backwards.

Art must transform itself...

into a simple synthetic and

dialectic expressin...

of all this knowledge.

C0MMITTEE F0R THE DEFENSE

0F THE REV0LUTl0N

Art is individual.

If art is enlightened,

it enlightens some people...

or all the people.

But I can't think

of cinema or art...

which I think is a sacred,

divine activity...

I think you cannot think about

money with art.

I would love if people

saw my foreign work...

which is a work of

"cultural de-colonization"...

HAVANA, 1971

a Brazilian moviemaker...

filming abroad the great apocalypse

of Cinema Novo...

the fatal and final beheading

of colonizing cinema...

so, just for this mystic activity.

Since my cinema is clearly

a revolutionary cinema...

which was tested

in many screens...

and by many audiences

around the worid...

I am an independent filmmaker.

I am neither led nor patrolled...

neither am I a patroller, I'm minding

my own business, doing my job.

I have accepted that

the Brazilian audience...

don't know my work,

let alone the critics.

I mean, just a few people...

know my films here in Brazil...

which are far

more famous abroad...

unfortunately for me

and for Brazilians...

but we are far more known...

seriously known...

He walked around talking

with everyone in Havana.

He saw the film with the audience,

to feel their reaction.

He'd be standing by the door.

Everybody knew him.

Then he stayed for two hours...

discussing the film

with many people.

Glauber Rocha became

a Havana character.

He's very much admired here.

At least by those who know

a little about cinema, because...

it was a cinema that was...

First of all, it was new for us.

Besides, this cinema

portrayed...

a very problematic character,

one of difficult presentation...

but who was very likable:

the "cangaceiro" killer.

And I say the character

was complex because...

"cangaceiros" were thieves,

but they were also peasants...

who fought against...

the exploration of countrymen,

in a way.

And it was surprising how he...

was able to make this character,

who was a hit man...

to be so likeable.

Beyond the rebellions

driven by religion...

by the end of last century...

the first groups of "cangaceiros"

appeared on the countryside.

They came to build the Northeast

with heroism and kindness.

But what was the origin

of "cangaceiro"?

Here in Cuba some Brazilian

novels were published...

like "Cangaceiro", which

explained a little that character...

very cruel and wild...

who was typical in Brazil

at a certain time.

A CRITIC REVIEW:

0F BRAZILIAN CINEMA

So, "Cangaceiro" was known here.

Not only because of cinema,

but also thanks to literature.

In my case,

in film critic reviews...

and in cultural magazines

I have access to...

every time they talk

about our cinema...

or mention our history

or make some reference to Titn...

or any other Argentine filmmaker,

I notice...

Glauber Rocha's omnipresence.

He set a new path for

Latin American cinema.

With the strength of his characters...

with the combination,

with the music...

the way he presented that film

that was so violent.

I saw him some 20 years ago,

I think.

Then I never saw him again.

I remember it because of the name

and the impressin he caused me.

It was very good cinema.

Unfortunately...

he disappeared.

We never heard or saw

anything by him again.

In fact, I haven't filmed

in Brazil for ten years.

Eleven years, because the last

film I made in Brazil...

was "Antonio das Mortes"

in 1968...

which was awarded Best Direction

at Cannes Festival in 69.

Then I went to Africa...

where I filmed

"The Lion Has Seven Heads"...

and then on to Spain,

where I filmed "Cutting Heads".

I came back to Brazil,

"Cutting Heads" was prohibited...

and I realized that

it was not possible...

to keep on working here.

0r else my head would be cut.

Then I went abroad and filmed

partly in Havana, Cuba,

partly in Italy.

I filmed "Claro", in Italy...

and completed the edition

of "Cncer".

The negatives of "Black God,

White Devil", "Anguished Land"...

"Antonio das Mortes"...

and "Claro"...

all my work is abroad! I had

to take them away from Brazil...

because they were threatening

to destroy it, burn it!

It was in Rio de Janeiro,

August 1968.

There was a commotion, students

and workingmen on the streets...

There were workers occupying

factories in Minas Gerais...

workers occupying factories

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