This week we learned about Cinema Novo, a Brazilian film movement that lasted through the 60s and 70s. It was created and contributed to by filmmakers who wanted to show the struggles of Brazil’s working class and poor communities, also tackling the subject of race. Some of the more well-known directors from this movement include Glauber Rocha, Nelson Pereira dos Santos, Carlos Diegues, and Ruy Guerra.

I liked how Eryk Rocha’s documentary on Cinema Novo wasn’t just a traditional documentary but instead felt like an artistic experience. Rather than presenting a straightforward history, Rocha used a mix of archival footage, interviews, and abstract editing to immerse the audience in the movement’s energy. The visuals and sounds blended together in a way that made the documentary feel more like a film from the Cinema Novo movement itself rather than just a film about it. This approach made the documentary engaging, even if at times it felt a little overwhelming or hard to follow. I appreciated how Rocha let the movement speak for itself through its films rather than relying too much on narration

I respect what the filmmakers were trying to do. Cinema Novo was all about pushing boundaries, challenging mainstream filmmaking, and giving a voice to people who were usually ignored in Brazilian cinema. It’s inspiring how these directors used whatever resources they had to create bold films with a political message. I also think it’s impressive that their influence can still be seen in modern filmmaking, especially in movies that focus on social and political messages.

-Robbie Atienza

Sara Gómez’s Da Cierta Manera is a complex film that blends fiction and documentary to explore Cuban society after the Cuban Revolution. What stood out to me was how Gómez used this film not only to tell a story but to analyze the real struggles of working-class Cubans, particularly when it comes to gender, race, and social change.

Gómez doesn’t just rely on a traditional narrative—she interweaves real documentary footage that shows the conditions of Cuban life, making the film grounded in reality and history. Rather than just observing these issues from a distance, the film forces the audience to confront them head-on. The use of real people and amateur actors also blurs the line between fiction and reality, reinforcing the idea that these problems are not just theoretical but deeply embedded in everyday life.

Another major theme in the film is gender dynamics. Yolanda, an educated and independent school teacher, represents the changing role of women in post-revolutionary Cuba. However, her relationship with Mario, a factory worker, reveals how traditional masculinity often clashes with these changes. Mario struggles with his own expectations of what it means to be a man, particularly in a society that is supposed to be progressing but still clings to old values.

This film helped me think about revolutions not just on a macro level with big, sweeping political reforms but also on a micro level. Revolutions require cultural shifts, personal growth, and a willingness to confront uncomfortable truths. Gómez’s work remains relevant today because the issues she explores—gender inequality, racial tensions, and class struggles—are still very present in today’s societies.