For our last week in class we watched Glauber Rocha’s Black God, White Devil which struck me as a very influential film as it warps the relationship between morality, religion, and the poor man. Whilst watching the film I wanted to highlight one of my favorite aspects which was the cinematography. Rocha successfully maintained his traditional cinematic technique with intimate close up shots, and dramatic framing as he would shoot the characters Manuel and Rosa. Two scenes which I adore is when the duo is in the church about to do the sacrifice with Sebastiao and the scene in which Carisco is talking to the group about the next step in his plan. Sebastiao’s sacrafice scene was in contrast with the rest of the film as it is only of the only scene’s which contained darkness, which is ironic for a religious figure. Being the cult leader he is, we see Sebastiao in dim lighting in a far away frame to which we move in closer, creating a sinister energy in the shot which shows Rocha’s skill in creating tension. This scene is then reversed in terms of shot style as we move into Carisco’s speech as the camera is actually quite close on the subject, moving around in circles around the subject making it seem as if all rules of cinematography are thrown out of the room. The closeness of this shot feels as if we are there in the action, making it as if these two scenes containing our antagonists Sebastiao and Carisco are opposite sides of the coin, with one being a much more formal style of shooting, and the other experimental.