The Origins of Cinema in Brazil

Cinema emerged in the late 19th century with the first film recordings by the Lumière brothers in France in 1895. It quickly spread to various countries, including Brazil. The first public film screening in Brazil took place in Rio de Janeiro on July 8, 1896, at a building on Rua do Ouvidor, showcasing short clips of European cities.

Shortly after, film cameras arrived in Brazil, and on May 1, 1897, the first Brazilian film was released. Vittorio di Maio filmed The Arrival of a Train in Petrópolis, shown at the Cassino Fluminense in Rio de Janeiro. Although some debated whether it was actually filmed in Brazil, researchers confirmed it was shot in Petrópolis.

The “Chanchada” Era and the Rise of Musical Comedy

The Early Years of Brazilian Cinema

Initially, Brazilian cinema focused on short documentaries capturing daily life. As the medium gained popularity, filmmakers began producing fictional stories, often inspired by real crimes.

In 1909, many theaters introduced “singing cinema,” where live performers dubbed silent films. The earliest preserved Brazilian film fragment is Os Óculos do Vovô (Grandpa’s Glasses), directed by Francisco Santos. Originally 15 minutes long, only five minutes were recovered by researchers from the University of São Paulo in the 1970s.

The Rise of Chanchada and Musical Films

During the 1930s to 1950s, a unique genre called “Chanchada” gained popularity. These films, predominantly comedies and musicals, reflected Brazilian popular culture, especially Carnival themes. Studios like Atlântida and Vera Cruz produced numerous successful films, and stars like Carmen Miranda, Oscarito, and Grande Otelo became household names.

Cinema Novo and the Social Revolution in Brazilian Cinema

A Struggle Against Hollywood Dominance

From the 1910s to the 1930s, Brazilian cinema faced financial struggles, as foreign productions, especially from Hollywood, dominated the market. However, in 1931, Mário Peixoto released Limite, considered one of Brazil’s first cinematic masterpieces.

The Birth of Cinema Novo

By the 1950s, Brazilian filmmakers sought a new, more authentic storytelling approach. This led to the “Cinema Novo” movement, deeply influenced by Italian Neorealism and the French New Wave.

Glauber Rocha became the face of Cinema Novo, coining the famous phrase: “A camera in hand and an idea in the head.” His films, like Deus e o Diabo na Terra do Sol (Black God, White Devil), addressed deep social issues.

Military Dictatorship and the Decline of Cinema Novo

After the 1964 military coup, the government imposed strict censorship, severely limiting socially critical films. By the late 1960s, Cinema Novo had nearly disappeared.

The Military Dictatorship, Pornochanchada, and Marginal Cinema

Government Influence and Censorship

In 1969, the government established Embrafilme, a state-funded agency meant to support Brazilian cinema. However, it also functioned as a tool for censorship, controlling which films could be produced.

The Rise of Pornochanchada

During the 1970s, Brazilian cinema saw the emergence of “Pornochanchada”, a genre blending eroticism with comedy. Inspired by Italian comedies, these low-budget films became highly popular.

At the same time, “Cinema Marginal”, an underground movement influenced by countercultural ideals, rebelled against commercial filmmaking. Major production hubs were São Paulo’s Boca do Lixo district and Rio de Janeiro’s Belair Filmes. O Bandido da Luz Vermelha (The Red Light Bandit, 1968) is one of the most iconic examples.

The Revival of Brazilian Cinema in the 1990s

The 1980s Crisis and the Industry’s Decline

The 1980s were a challenging decade for Brazilian cinema. The rise of home video and drastic budget cuts led to a sharp decline in film production. In 1992, only three Brazilian films were released.

The “Retomada” Era: A New Beginning

During Itamar Franco’s presidency (1992–1995), the Secretariat for Audiovisual Development was created, followed by the Audiovisual Law in 1993, which offered tax incentives for film production.

The “Retomada” (Rebirth) of Brazilian cinema began in 1995 with Carlota Joaquina, Princesa do Brasil, directed by Carla Camurati. This period saw Brazilian films returning to international prominence. Notable examples include:

• O Quatrilho (1995)
• O Que É Isso, Companheiro? (Four Days in September, 1996)
• Central do Brasil (Central Station, 1998) – won the Golden Bear at the Berlin Film Festival and a Golden Globe for Best Foreign Film.

Other major hits of the 2000s include:

• O Auto da Compadecida (A Dog’s Will, 2000)
• Cidade de Deus (City of God, 2002)
• Carandiru (2003)

The Post-Retomada Era and the Boom of Brazilian Cinema

With financial incentives and the expansion of multiplex theaters, Brazilian cinema thrived in the 21st century. By 2013, Brazil was producing 127 films per year.

Critically acclaimed films from this period include:

• Tropa de Elite (Elite Squad, 2007 & 2010)
• Que Horas Ela Volta? (The Second Mother, 2015)
• Aquarius (2016)
• Bacurau (2019)

Political Challenges and the Future of Brazilian Cinema

During the governments of Michel Temer (2016–2018) and Jair Bolsonaro (2018–2022), Brazilian cinema faced funding cuts and threats to Ancine, the national film agency. Many projects were stalled due to lack of support.

However, Brazilian filmmakers have repeatedly proven their resilience. With a rich history and internationally acclaimed productions, Brazilian cinema continues to evolve, shaping new narratives and breaking barriers.

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