-Jahsira Williams

The cinematography of the film was very beautiful. For mostly outdoor scenes, daylight scenes in white clothes, the characters looked gorgeous. The narrative of the film was comprehensible but lacked an emotional connection for me. Firmino definitely felt more like a trickster, chaotic character than one that deeply cared about his community. He was willing to sacrifice anyone (Cota, Aura, Vincent etc) in order to shake the foundation of the community. I do agree that a revolution was needed, but Firmino’s desires felt unfinished, especially as the film leave us mourning with the community with another death (or potential sacrifice to Yemenja) of a fisherman.

The themes of religion are potent. It seems like most socialists/communists/Marxists do struggle with the role of religion in the revolution. For Africans who were trafficked and enslaved, elements of their religion are what ties them back to Africa. It provides a tether to their home identity. However, maybe the domination they experienced and the Catholic elements are what keeps oppressed people in a state of coping with their situation instead of revolting.

Rocha does allow space for the power of Candomble and women to shine in the film. The precipice of the “turning wind” means that Yemenja is powerful, her daughters are powerful—so sacrifices are required. He (and Firmino) seems to call on the religion to provide that “turning wind” for a new social order.

Lastly, for me, Rocha’s lens and story is lacking for the female characters: Cota firmly placed in her status and is used by Firmino and Naina in her constant weeping.

I also do accept that there’s tons of context I’m missing as an American, and non practitioner of Candomble.