Rocha que Voa Page #7

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We felt like we were...

the audiovisual branch

of these movements.

With the commitment of a cinema...

artistically and politically

liberating...

renewing its structure

and of national liberation...

we started,

some sooner than others...

to realize we needed

to adjust our illusions.

The 1960's...

which started its martyrdom

precisely...

by late 1968,

when there was Golgotha...

which means "the right-wing triumph"

in an updated definition...

and, by all means,

the oppositions...

the fascist and neo-fascist

oppositions in the planet.

- The worid is no longer...

- No more...

the spirit of experimentation,

the patrons...

Iose room talking about

those who had the money...

and honoring them with

works of cultural reach.

The worid is not so...

With the dictatorships

in Latin America, it vanishes...

Hitkin, who ends up in exile,

Glauber Rocha...

exiled...

Everyone...

The most lucid people

ended up being expatriated.

The fact is that we thought...

it was possible...

That a film could change the worid.

That is, we knew it was a lie.

We weren't fooling ourselves.

No film can change the worid

or anything...

but you have to make a film

like if it was possible.

The passage from the capitalist

barbarism to a socialist society...

depends on this mass practice...

this ideological "feijoada" will

produce the banquet of Quarup.

People sublime their rebellion

in the mystic manifestations.

You are for democracy,

so what can you tell me about it?

I think it's a nice thing...

I think Brazilians

must rediscover...

and make again

a national project...

they must rediscover their

strength, their particularity...

rediscover the myth of their culture,

their social, political project...

their anthropological project.

As poet Carlos Drummond

de Andrade wrote...

he who is an oracle,

he who wrote "Claro Enigma"...

"We must forget Brazil

and rediscover Brazil".

I need to tell you a story.

Do you know who discovered Brazil?

Do you know who discovered Brazil?

Do you know who discovered Brazil?

Do you know who discovered Brazil?

Who discovered Brazil?

I want to work!

I want work!

I CLEARED SEVERAL TH0USAND

ENIGMAS IN A TH0USAND DAYS

I FALL ASLEEP SL0WLY REFLECTING

PATHS 0PENCL0SE

H0NEY R00T BURN 0N THE F0REHEAD

I was thinking,

before you asked me...

about visions.

0ur mind is...

involuntarily, a workshop

for many things, isn't it?

What's a visin? People who

didn't have visions, I thought...

they saw them as something

very distant, maybe...

because they had a very

rough image...

on what a visin is.

As if a visin was...

a ghost that materialized...

or something of the sort.

But visions are not quite like that.

Maybe visions are simply...

cinematographic impressions

we have...

when we are thinking

about something...

while we're looking at reality.

So, if this is visin...

I think there are many more

people than we suppose...

including ourselves,

who have visions.

Because they are projections

of thoughts...

which don't have this ectoplasm

condition materializing themselves.

They're like thoughts,

like printed dreams.

And if that's true,

then I had...

two similar visions with Glauber.

The first was soon after his death.

I was in Cuba, in a hotel

facing the Caribbean...

and there was this typical sunset,

it was very impressive.

The sunset there is wonderful...

because it's a sky that

cannot be reproduced...

by any great name

of classic painting.

It was blinding. Blinding.

I was facing one of these skies...

when, all of a sudden,

Glauber came up to me...

like in a kind of manifestation...

I don't exactly know what.

But we were for the new

Latin American cinema...

with big posters, like that.

Then Espinoza passed by with

a pster that read "Viva Sanjins".

Then it was, I don't know...

Sanjins passed by

with a pster that read...

"Viva somebody else"...

and it read "Viva Solanas", and

Solanas's read "Viva Gutirrez Sarra".

Each was carrying a pster

celebrating the other.

And Glauber passed by above us...

but he was an ngel.

He was all rolled up...

in films and film rolls

went down his tunic.

He had a megaphone

and he screamed:

"Dream with your eyes open!

Dream with your eyes open.

Dream with your eyes open".

And that happened twice.

Twice...

and I'm still waiting for him

to come and tell me that again...

because I'm sure he's out there

screaming that away.

"Tereza Teza Teca

I love you

Tereza Vanera

Teca Cubanera

Cubana Cuca de Buru

Buru in Teca's mind."

"A Xang for Teca".

"Tere que teca

Tere que teque teca

Tereza teca

Tecalaquela

Telemateca

Tere I want you, Tere I do."

He was always leaving me notes.

I knew, with Glauber,

the authenticity of people...

the truth of people.

To be what you say you are.

You can be wrong,

but, at least...

be coherent with yourself.

Sometimes he was wrong,

and he was something...

then he was something else...

and people didn't understand him.

But even in his contradiction

he was true to himself.

What I liked best in Glauber

was this primitivism...

this non-planned thing...

this spontaneity to express...

the things he felt

the way he felt them.

This freedom...

this I have never found

in anyone else.

And, undoubtedly...

for someone like me...

who...

was born and lived her life...

in one single way...

who lived in a society

just to survive...

I had to create some models...

and to have met someone

who followed no models...

and who was, I don't know...

spontaneous and rich

in his manifestation...

it was definitely something

that made me grow a lot.

I remember they invited him

to the parade on May the 1 st...

and I was marching there.

I remember that when

we met at the hotel...

he was very moved.

Marcos told me that

Glauber cried on the stands.

I remember that later

he hugged me and said:

"Teca, this is the first time

I see a Latin America people...

strong and happy".

And don't forget that he gave a

mystical touch to everything he saw.

It could be very real,

but he always gave this...

this touch...

I don't know,

it was his own origin.

He really needed to be

in contact with Brazil...

in regard to the

political decisions.

As an intellectual, he thought

he had a role to fulfill...

in regard to what was happening.

He didn't want to be left out...

he wanted to participate.

I was a witness of that.

Many nights...

when I woke up, I saw Glauber

walking around the bedroom...

very afflicted. And he said

he was thinking about Brazil.

He was a very demanding person...

punctual, and I remember Glauber...

It was impossible to open

his bedroom door...

or walk around it,

because it was all on the floor.

There were so many things!

And Glauber knew exactly

where everything was.

He was very organized in his mind.

I have never met anyone

as connected...

to his roots, to his land,

to Vitria da Conquista...

as Glauber was.

That's why he was

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