A seminal work of the Cinema Novo movement, Black God, White Devil (1964) uses powerful visuals and daring storytelling to address social injustice in Brazil. The illusion of salvation—how downtrodden people turn to religion or rebellion for solace only to encounter more violence—is one of its central themes. The violent cycle of power is examined in the movie, where real freedom cannot be found in armed opposition or faith. This supports Cinema Novo’s mission to reveal structural injustices and to reject Hollywood’s slick storylines in favor of unvarnished, politically motivated storytelling.

Sebastião’s assassination, in which the spiritual leader is assassinated in a bloody, chaotic process, is a particularly noteworthy incident. The cruelty is heightened by the use of quick cuts, close-ups, and high contrast lighting, creating a moment that will never be forgotten. Rocha reinforces the film’s pessimistic view of power and revolution by portraying violence as a dismal necessity rather than as something to be glorified. This message is strengthened by the cinematography, which combines fantastical compositions with documentary reality. Characters are frequently framed against expansive, barren landscapes to highlight loneliness and struggle. The erratic movement of the camera reflects the unpredictability of the characters’ environment.

This movie showed me how Cinema Novo rejected traditional aesthetics to produce a more visceral, political experience by using cinematic methods as a form of resistance. Rocha forces viewers to confront the brutal reality of injustice and poverty through her unvarnished, almost dreamy images. In keeping with Cinema Novo’s goal of arousing political consciousness, Black God, White Devil continues to be a powerful example of film as a vehicle for revolution with its audacious visual and unyielding themes.