Bye Bye Brasil

This fantastic movie tell the history of a small caravan of artists that crosses an immense area inside Brazil accomplishing circus shows for simple and poor people. In the road, a couple of beggars that escapes from the drought of the northeast of Brazil associates to the group, and they are going all to seek the wealth and the success in new " Eldorado Brasileiro ": the Amazonian. A film human but also controversial, with a fort social content, that treats of problematic themes of the Brazilian reality: the social poverty, the migration and the environmental destruction.

It shows a Brazil from the inside, a very touching film that we see the life choices of small mambembes style artists that circulate in their own network and alternative of presentations. A movie with our way and our little tricks, wonderful!

The filmmaker is the brilliant maceioense Cacá Diegues, made, among others, Xica da Silva in 1976, on slavery in Brazil. The protagonists are the experienced Jose Wilker (The Black Cover Man of 1980) and Beth Faria (For All: The Trampoline of Victory of 1997). There is also the young actor and cantr Fabio Junior.

More than a discussion on which are the best Brazilian films ever, "Bye-bye Brazil" is certainly one of the most important films made in Brazil. It is a deep sink in Brazilian soul and a portrait of serious changes in Brazilian society in late 70's. Modern vs traditional, pride vs vulnerability, love vs need, arts vs market, big town vs deep country, it is a very layered and encompassing film, abroad movie far from formulae and fancy, a must see for everyone who are interested in understanding and knowing Brazil.

Bye Bye, Brasil (1980) is a letter to Brazilians, literally. In the end of the film a phrase appears: "Ao povo brasileiro do século XXI", which means: "To the brazilian people of 21st century". I understand that there are two meanings for this phrase. First, Carlos (Cacá) Diegues, director and writer, meant that in the 21st century technological devices regarding movies and shows would be different and more common in Brazilian houses, so the movie is a historical log of the transition from radio to TV in poor zones in Brazil. Second, he was being ironic in terms of social issues. He knew that Brazil haven't progressed as much as people expected in these matters. So he predicted that what the movie explores: dishonesty, corruption, illiteracy, prostitution (as a social consequence), land problems and other themes would continue. The film is a parameter. Unfortunately, he was/is right and that's why the movie hits hard sometimes. The social critics are made naturally throughout the narrative, through the main characters and other people that appear in their journey. Though there is this strong drama side, there is also another one... There are many funny moments and memorable jokes, essentialy, because of José Wilker's character, Lorde Cigano (Gypsy Lord), who is the leader of the Caravana Rolidei group (like a mini circus). Wilker totally steals the attention with his charm, charisma and rascal way of being. By the way, this is a very common representation of Brazilians in Brazil and abroad, which is also a social issue and is probably an implicit critic by Cacá.

Everything about this film is well thought out, the plot and the screenplay, as I previously showed, the clothes and sets are very realistic (on location shooting) as well as the acting. I highlight, besides Wilker, Betty Faria, who created a very complex and interesting character.

Although the movie is a letter to Brazilians, I totally recommend this movie for foreigners. I think that, in this globalized 21st century world, we can understand a lot each other reality and comprehend messages like Diegues' one.

I first saw this film around 1985, when it was still new, and before I started studying and visiting Brazil seriously. I did not remember much at all, probably because I did not understand the significance of what I was seeing. Now, after four visits to Brazil (mostly Amazon and Northeast), it makes a lot more sense, and I will be recommending it to students.

The movie was made near the end of the (1964-85) military period, when political discourse was possible but still needed to be done cautiously. So the film addresses serious concerns about the government's programs to encourage migration, but it does so with humor and finesse.

It is a brilliant film, and gives some insight to the ongoing suffering of the sertao, the cultural context of forro, the folly of development in Brasilia, and the drivers of deforestation in the Amazon.