Watching Cinema Novo was like entering the minds of directors who saw cinema as an instrument for change. Rocha’s style combines vintage material, voiceovers, and film fragments in a way that is almost hypnotic. Instead than defining Cinema Novo, the documentary exemplifies it: chaotic, bold, and passionately involved with the world. The cinematography is not about perfection, but rather energy and intensity. Cinema Novo by Eryk Rocha is a powerful examination of a movement that revolutionized Brazilian filmmaking. The way Rocha organized the documentary, not as a simple historical narrative, but as an engrossing, nearly surreal montage of sound and visuals was what most impressed me. Drawing inspiration from the unpolished, handheld aesthetic that characterized Cinema Novo, the cinematography has a smooth vibe. Layered voices, sudden cuts, and dynamic juxtapositions are some of the experimental editing choices that produce a sense of movement that reflects the films’ political urgency.

Beyond the technical, the notion that film may be revolutionary struck a chord with me. The goal of Cinema Novo’s filmmakers was to reveal reality, especially the hardships faced by Brazil’s working class and impoverished, rather than to provide an escape from reality. Using the camera as a weapon against oppression, they saw filmmaking as an act of resistance. It got me to reflect about the potential of cinema that goes beyond aesthetics. In what ways might my cinematography support narrative in a way that inspires, challenges, and provokes? I was reminded by Rocha’s documentary that the most impactful films are those that dare to be honest.