L'agent secret

"The Secret Agent" is a film I just saw at the Philadelphia Film Festival. Before I talk about the plot, I must warn you....this is NOT a film for kids or for those turned off by violence. The film features some brutal murders near the end and the story is certainly depressing...as it should be.

The story is set in Brazil in the 1970s. The nation had been under a military dictatorship since 1964 and the police in the film are uniformly shown to be evil. One of the people the police are looking for a man who you learn has done NOTHING illegal...he just got on the wrong side of a well-connected and evil man. So, much of the film consists of him hiding as well as various evil scum looking to kill him.

Is this a recipe for a fun film? Certainly not! But it is very well made and teaches us about a period in history we might not know much about and should! Well made and a sad film that might leave you feeling a bit drained by the time it's completed.

I like Director Kleber Mendonça Filho, who doubles up as script writer in AGENTE SECRETO. He pulls no punches when it comes to depicting reality in his beloved Brazil.

Over the course of its 160 minutes, AGENTE SECRETO portrays three men in the Solimões family of Brazil's Pernambuco State who have experienced in different ways the evils of dictatorship, with Wagner Moura delivering yet another magnificent performance as each of those men in their generation.

As other reviewers point out, this is an account of events in Brazil at a difficult time when dictatorship reigned over that marvellous and multicultured land, and Mendonça Filho hides no details hard to admit about one's country.

The dialogue floats from apparently normal conversation among common people to a growing realization that everyone is under threat. Photographs of then Brazilian dictatorial President Ernesto Geisel and other senior government officials hang in just about every office, corrupt policemen give cover to hitmen, welcome bribes and keep breaking the law.

In a film where you also get the amiable soul of Brazilians, the contrast comes from the main villain, the wealthy company owner Ghirotti well played by Luciano Chirolli, who wants university professor/researcher Solimões I's patent, and centralization of the university funding and operation.

That contrast also hits home with raw, at times exceedingly violent action, where JAWS (yes, the Spielberg-directed 1975 film) has a double with a human leg in it, and the supernatural intervenes as that leg suddenly comes alive, becomes hairy - kids laugh about comic pictures of the "hairy leg" in newspapers - and starts kicking people engaging in sex, and other compromising positions. A black Angolan woman displaying an excellent, just perfect diction of Portuguese Portuguese, keeps the residents at Solimões II's place informed about that leg. Why she and her husband appear in the film only baffled me, as they do not add to the narrative or action, other than they fled Angola and are on their way to Sweden.

The animistic, supernatural element also comes in with a scarecrow-like masked man on the side of a Pernambuco country road, which revisits Solimões II in his nightmares.

Add to that a cat with two faces and four eyes, at least two blind. One can interpret that in various ways. I see it as symbolizing the many angles of history and human memory.

Constantly in the background of dictatorial Brazil of the 1970s, the government poses an elusive but real and constant threat to all citizens.

Ultimately, nothing is sacred: two young girls are listening to tape recordings of Solimões II interviewed by a woman called Elza. How and why they have that supposedly personal and secret material, who they are - neither is a relative of the Solimões - and work for, is not disclosed but they have very modern high quality computers, so they are current generation.

A positive note emerges toward the end, with Solimões III at the helm of a blood donor unit, symbolizing the heart of Brazil pumping in spite of all menaces and democratic hiccups.

Superb period reconstruction - plenty of lovely VW Beetles, and other 1960s/70s vehicles on show - only heightens the enormous quality of Evgenia Alexandrova's cinematography, backed by highly effective editing by Matheus Farias and Eduardo Serrano.

I sincerely believe AGENTE SECRETO and actor Wagner Moura deserve Academy Award nominations as Best Foreign Film and Best Actor, respectively. 8/10.

This movie is a conversation of Pernambuco with Pernambuco. Brazil with Brazil. Maybe may look strange for people Who are not from here (even silly) But every story (even the hairy leg one) is conected with Pernambuco's culture.

Excelent direction, screenplay and acting by Wagner Moura.

About the ending, spoilers ahead:

A lot of people can find that it has a lot of loose endings, but that's the point. The whole movie is about resistance of memory and how unfortunaly, in Brazil, we tend to cast aside. The opening scene shows the indiference we have with violence and how we don't care with individuals. The ending doesn't explain what happened, Who did it, because in real life there's a million storys we just forget and treat like numbers (91 deads and Carnaval)

For people Who maybe feel this film is too long, this movie is not trying to entertain you. Is trying to speak with you, talk to you.

"The Secret Agent" is yet another proof of how great Brazilian cinema is. It's very comparable to I'm Still Here in terms of themes and filmmaking, but it's much more violent. The film tells an intense, heavy story set during a period of Brazilian history rich enough to spawn countless narratives. And despite its long runtime, it's always magnetic and gripping thanks to its incredible direction, cinematography, and-above everything else-the performances.

The cast, led by the legendary Wagner Moura (with a special shout-out to Tânia Maria), deliver Oscar-worthy, unforgettable work. There are even a few funny or lighthearted scenes sprinkled in to lift the mood, which I really appreciated.

On the other hand, the third act felt a bit underwhelming. The choice to use the same actor to play a different character (something I usually hate) felt unnecessary, and several loose ends were left hanging. You can fill them in with your own imagination, but with such a long runtime, those threads and the entire story deserved to be completed on screen. I would have trimmed some of the excess earlier to allow the story to conclude fully.

These issues prevent me from giving the film a higher rating-but it remains a great piece of art and filmmaking nonetheless.

Kleber Mendonça Filho's Secret Agent is a film of striking visual elegance. Its art direction is nothing short of superb, reconstructing 1970s Recife with a sense of texture and atmosphere that is both raw and poetic. The city emerges not just as a backdrop, but as a living, breathing character - a mix of beauty, decay, and tropical melancholy. The film is also populated by a gallery of eccentric characters, embodied by an equally eccentric cast that gives the work a peculiar and often intriguing rhythm.

Yet, despite this sensory richness, Secret Agent ultimately feels weighed down by its own self-awareness. The screenplay is disappointingly unoriginal and excessively self-referential, operating more as a parnassian memorial to the director's own childhood than as a gripping piece of suspense. What could have been an inventive political thriller dissolves into a predictable collage of Brazilian clichés - corruption, nostalgia, and class tension - presented with a kind of weary inevitability that borders on pamphleteering.

Wagner Moura, despite critical praise, delivers an oddly muted performance. His restrained acting feels more absent than subtle, and the decision to have him play both father and son proves to be an unnecessary and somewhat embarrassing gimmick that adds little to the story's emotional weight.

In the end, Secret Agent stands as a technically accomplished but dramatically hollow film - a beautifully framed echo chamber where form triumphs over substance, and personal memory overshadows genuine cinematic tension.