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00:00The film is about a family, a family in 1970s, in the 70s, that is during the military dictatorship
00:22in Brazil. And the way that they led life, you know, opening the house to friends, opening
00:30the house to political discussions, opening the house to music, was a form of resistance
00:35against that military dictatorship. And then destiny knocks on the door of that family.
00:42And the film is about that, and about the transformation, the reinvention of this woman
00:48that Fernanda portrays. And all of that is, in fact, rooted in history, a real story,
00:57rooted also in a family I happen to know very well. So this is a story that is phenomenal,
01:08and at the same time, it's so personal to all of us. It was based on the memoir of the
01:16son of this family of seven, in fact, mother, father, and five kids, and one of them became
01:24a writer. And seven years ago, he wrote a really luminous book about his family and
01:33about the reconstruction of that individual memory, the memory of that family. So I was
01:41very moved by what he told, but I was also moved by the fact that it was not only about
01:49reconstructing the memory of that family, it was also about reconstructing the memory
01:54of a country, which is Brazil, a country that endured 21 years of silence of a military
02:01dictatorship. And it's very rare that you can find a subject that is so touching on
02:08a human and existential standpoint, and at the same time, you can touch history with
02:14a capital H, which is the history of a country. And this project englobed both possibilities,
02:24and there was no way to say no to that with such great actors. I call them co-authors.
02:32I sometimes resist, but they really were co-authors.
02:35I refuse. You know, Eunice, this woman, the real woman, she's unique in every sense. I mean,
02:42she never reacts the way we think we would react to a fiction, would portrait a woman
02:49that is left alone with five children, fighting against a dictatorship. And she comes from being
02:59a housewife to this lawyer, human rights, a lawyer that defends the human rights. So,
03:07nothing in Eunice is what you expect. She never had, I think, time to feel self-pity, to cry.
03:18She had to move on. Something tragic happened with her, and she doesn't react as she was in
03:28a melodrama. She reacts as in a real tragic story. She moves on in silence. And I think the
03:38silence, she doesn't say anything to the kids, and she just go on. And this is something in this
03:46movie that it's very moving, and it's not even my acting. It's Eunice's behavior that it's so
03:53overwhelming. So, she doesn't cry. The camera doesn't push you. The music doesn't push you
04:00in the movie. But you are totally overwhelmed by this act of resistance of this woman. She
04:08avoided cliche all the time, Eunice, and I think she helped us a lot to avoid it in fiction.
04:15It's a double or a triple pleasure, because one is the cinematic pleasure to work, finally,
04:24with one of my favorite filmmakers in the world, which is this guy right here. And because Walter
04:30has, in his body of work, this very delicate way to tell a story. And even in this one,
04:37super violent, it's Walter again, in a very delicate way to tell the story. And I really
04:45appreciate that and trust him a lot. I just put my soul in this film. It's more than a technical
04:51thing. They needed that I had to fill the screen with my lightness, grace, because somehow this
05:03has to resonate through the film. And then helping the film itself, helping Fernanda's work,
05:11helping audience to miss this guy. It's a very moving story. And we are surrounded by great
05:21talents. You know, the crew, all the crew, cast. I mean, we had the best artists surrounding us.
05:30Yeah, you know what? I just put my soul. I just did my best. I'm not talking about my craft. I
05:41talk about myself. You know, Walter comes to documentaries. And this is very interesting,
05:49because the way he manages a fiction, it's somehow related to documentary. It doesn't
05:54look like a real acting. We're there. We're just there. And this is so beautiful and unique.
06:04I came back to Brazil in 1969. That is five years into the military dictatorship. And I was
06:14really somehow unanchored in that society. I miss my friends. I had been away for too long.
06:22And then I was embraced by that family. I remember vividly, you know, how their house was
06:31open to the world, the windows were open, there was no key on the door.
06:35Imagine that during a military dictatorship. And the idea in that house was to somehow replicate,
06:43I think, or embody the possibility of a different Brazil, Brazil that would be
06:48more inclusive, would be more democratic, would be more musical, you know, would be more inventive.
06:57I fell in love with the characters in that house. And I fell in love with that family. And I fell
07:02in love with their friends. Every time that I would get in, I would meet people I had never
07:06met before. I think that pretty much, as cinema did, I was informed by what I saw in that house.
07:16And it was, we were commenting that yesterday, it was a shock to see that house suddenly shut.
07:22You know, one day, I arrived there and the house was shut. There was military police around,
07:29we couldn't get in. And that somehow defined a before and an after in the life of everyone who
07:36had been in that house. Because really, to live was a form of resistance, you know, in that family.
07:43And we learned so much from that. I think that in many ways, you know, what I've done in cinema,
07:50in documentary was consciously or subconsciously informed by that, you know, by the memories that
07:57I have of that time. And picking up on what Selton did, I really didn't want that house to feel like
08:07staged, you know, or what existed within that house. You know, I just wanted it to pulsate,
08:17you know, to be sensorially, I wanted to invite you to be part of that family, you,
08:23the audience, you, the spectator, as I was myself invited into that house.