Glauber Rocha’s Black God, White Devil exemplifies Cinema Novo, depicting brutality, religion, and revolt in Brazil’s sertão through raw and strong visuals. One incident that strikes out is when the protagonist, Manuel, murders his landowner before fleeing with his wife, Rosa. The cinematography in this moment is rough and raw, with unstable handheld views that emphasize Manuel’s despair. The sharp black-and-white contrast heightens the brutality of the situation, making it seem almost mystical.

The moment where the self-proclaimed prophet Sebastião, a mysterious figure, leads his followers in a ceremonial frenzy is another powerful one. The film’s bizarre aspect is enhanced by extreme close-ups of twisted faces and wide, motionless images that highlight the group’s insanity. The film’s themes of fanaticism and persecution are reflected in the biblical, almost supernatural atmosphere created by the use of deep shadows and high contrast lighting.

The cinematography of Black God, White Devil complements Rocha’s vision well. The unpolished, almost documentary-like technique gives the film a sense of urgency and reality, but the bizarre compositions raise it to a poetic level. I learned how cinematography can influence not only the mood but also the overall meaning of a film. Rocha’s visual approach transforms history into myth, using reality and allegory to question power dynamics. His method demonstrates that film does not always require polished aesthetics to be powerful in some cases, rawness speaks louder.