Rocha que Voa Page #4

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- No to colonialism!

- No to colonialism!

- No to colonialism!

- No to colonialism!

- No to colonialism!

- No to colonialism!

I thought it was the best way...

to propose the revolutionary cinema

to the Third Worid.

IS A BLACK REV0LUTl0NARY

MYTH IN BRAZIL:

I PUT THE NAME:

0N THE AFRICAN LEADER

T0 MAKE A CULTURAL RELATl0N

Because Guinea-Bissau

is a new state...

Mozambique is a new state,

Angola, all Africa is new.

I filmed in Africa

because of the African problem...

but I could have filmed in Bolivia,

about the Bolivian problems...

or in Brazil.

The Afro-Latin problems

interest me a lot...

and I thought I had

to go to Africa...

also as a political and cultural

act of collaboration...

to the notion of

intercontinental fight.

History is implacable.

When the intellectuals

themselves revealed...

all the political contradictions

in Latin America...

the solutions to the problems

in Latin America...

could not be limited

to criticism...

they needed a historical

transformation. So...

the first thing the Latin

American intellectual...

has to do is demystify himself

in his role...

of interpreter and critic

of History...

without actually participating

in the politics of this History.

This contradiction was solved...

in its most significant level,

not only to Latin America...

but to the whole worid

in the figure of Che...

who was, at the same time,

a political thinker...

and a political activist.

So Che became...

this extremely important myth...

for the whole worid

and the whole youth in the worid...

from East to West...

exactly because he embodied...

this... this...

he embody this contradiction

in himself.

He was a synthesis and

a new proposal for men.

And therefore he irradiated

a mythical force.

In fact...

in any social process...

the doctor, the engineer...

the aviator...

the sailor,

the telephone operator...

SALARY D0ESN'T W0RTH A THING the mechanic are

as important as the philosopher, the poet...

because society is made up

of all this, isn't it?

0ne of the biggest tragedies

of capitalist society...

is exactly this criminal

specialization of men.

You specialize in just one thing.

So you find, for example...

musicians who can't drive a car.

Athletes who are not

sensitive enough...

to appreciate music.

We find painters

who can't play music...

mechanics completely

concentrated in their machines.

This is an anomaly,

a complete disaster...

in the formation of men

in Brazilian society.

WAS IT AN ACCIDENT?

In all the capitalist worid...

specially in the

underdeveloped countries...

there is an economic class

with well-defined characteristics.

So, what happens is

that any man...

is capable of making music.

He's capable of making sounds.

Just like any man

is capable to paint...

any man is capable

to build a machine.

Any non-educated brain

still in its childhood...

has the integral capability

of developing in every sense.

So this is a deformation

in the education of men...

provoked by bourgeoisie society,

because men...

cannot develop himself fully...

in bourgeoisie society.

He can't have an education because

of the economical oppressin.

- So, since he's a child...

- In Latin America, four children die...

every minute because of

illnesses caused by malnutrition.

In 10 years, 20 million

children died for that reason.

It's the same number of people

who died in Worid War II.

Go on, go on, go on!

Come on!

Proving that an educated man...

in a liberating system,

can really...

be, at the same time,

an engineer and a painter.

This would give man

the plenitude...

over his own existence.

That is, science

does not exclude poetry.

CAY0 HUES0 QUARTER-

HAVANA:

Sara of Cabo Hueso...

Sara of Brazil, Sara of America...

Sara of Africa.

Sara gives us do much vitality

that she didn't die.

She is here.

0ne of the first Cuban...

women...

to have the privilege...

to know...

what women liberation was.

Because it was very difficult...

not to mention her skin color,

a woman becoming a filmmaker.

And she did it.

IN A WAY:

I don't know how she got into

cinema, because cinema...

is a media that demands...

a great technical complexity

and a series of mediations...

so you can get any idea across.

Sara would have loved to make

cinema without cameras...

without microphones,

without anything.

She would have loved

to make direct cinema.

She wasn't searching for our identity,

she was our identity...

on her skin.

0f course, it's ours roots. Without

them there's nothing, only fiction.

And anyone can

come up with fiction.

I never saw them together, but...

I learned later on, Sara told me.

We respected and

admired Glauber...

for his cinema,

which we had seen...

the Cinema Novo movement

and what he meant in it.

Meeting him was

very important to Sara.

As a filmmaker, as a director.

It was important...

more than seeing his films,

to know the man who made them...

to see how he was,

how he faced life and interacted...

with people.

For her and for us all...

it was very moving to meet him,

to see him...

and specially to hear him

in that constant poetic delirium...

that was typical of him.

Besides, there's something

my friend hasn't said yet:

the Cuban audience...

even the less educated...

is the Latin American audience

who best know...

Latin American cinema.

Not only Glauber Rocha...

but all the great Latin American

directors and artists.

- As friend, man and revolutionary!

- My directing style...

is deeply connected to

Brazilian popular culture...

and to the symbols.

Everything I consider symbol

and allegory are not abstractions...

but direct expressions

of popular culture.

It's cinema about the people...

with the cultural collaboration

of this people.

I, because of a professional

deficiency...

don't have the ability

to make documentaries...

so I make fictional films...

connected to the

Latin American reality...

with a language that

expresses the deepest myths...

of Latin American people...

inherited of the black culture

and the Indian culture...

of the images...

the visual imagination of...

Here in Cabo Hueso you'll find

people who can talk about him.

People who knew him and had

contact with him in the manors...

in the parks and corners

where people met.

0n that day I heard many verses

that he was improvising.

Everything he thought and did

was in terms of images and poetry.

All the time. I think his work

was one big poem.

He was a writer besides being

a filmmaker and a man of images...

who was searching for

a relation with the words...

and a worid beyond

the visible one.

I thought he was from Brazil,

but he said he was from Baha.

I didn't get that.

But then I found out...

that when you're from Baha

you're something else.

There's nothing to do

with Rio or...

He insisted on that.

He would say...

"I am not from Brazil;

I am from Baha!"

It's just like I said I'm

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