• 2 days ago
Transcript
00:00One more person saying that the make-up artist is amazing.
00:04The make-up artist, man. She gets old.
00:11The strongest emotions of the movie came in small moments,
00:15when I had the feeling that life wouldn't be the same for that family anymore.
00:20And I saw a lot of people emotional in very different scenes.
00:23So I wanted to know what you felt the most, in your stomach, you know?
00:28Well, first of all, it's a pleasure to talk to Dora Cinema.
00:30You do a beautiful job and are a great supporter of Brazilian cinema,
00:34which is a very important thing.
00:36We are happy with this movie.
00:37It's a movie, as you said, it's a movie of great moments and small, great moments.
00:43It was the feeling we had when we watched it for the first time on a TV,
00:46on the editing island.
00:48It causes such a great emotion, in waves, without forcing bars, without bluffing.
00:55And it keeps changing, I think, the place.
00:57The first time I watched it, I think I started to have a kind of convulsion
01:01when she comes back home and she looks in the mirror in the bathroom
01:06and I said, wow, damn it, it's over.
01:09I thought I was already vaccinated, because I ended up in a state of commotion.
01:15Then we sat in Venice to see, thinking we were already vaccinated.
01:20Then, when Rubens appeared, Celto took my hand and I his,
01:26and we said, he's going to disappear.
01:28Then it started.
01:31And we were kind of proud to be there.
01:34The other day I was going to a Q&A, I don't remember where,
01:40in London, I think.
01:42And I went in and saw my mom's face at the end of the movie,
01:45and then I did...
01:47So, you see that it's a movie that has no tricks,
01:50because it's just different moments according to each person,
01:54it's not the scene to cry, the scene...
01:56No, it's a kind of constant commotion that the movie causes,
02:00it's a strange thing.
02:01I was going to talk about that,
02:03because when I thought I was already destroyed in every way,
02:06Fernanda Montenegro appears on the scene.
02:08And this is not the first time you share the same character.
02:12I just wanted you to tell a little more about this feeling
02:15of seeing her in the continuity of Eunice, of this role.
02:19You know there was more than one person...
02:22At first we thought it was just a critic from Italy,
02:25but that continued later.
02:27More than one person saying,
02:29the make-up artist is amazing.
02:32The make-up artist, man, she ages.
02:35And that, the face of mom,
02:37there are all the characters she made in life in one face.
02:41Mom is not just her,
02:43it's her and a legion of characters that she made.
02:49And besides that, she's for Brazil,
02:51which means she's for Brazil.
02:53And I've done a job like this,
02:55worthy of passing the baton to her, you know?
02:59It's exciting for me.
03:01And in Walter's movie, we have connections,
03:04we are relatives and partners at different times,
03:08and suddenly we are all in this movie very emotional.
03:12It's always amazing when a story with such a Brazilian DNA
03:16can touch people who have no idea what life was like here.
03:21What do you think is in the way of telling this story
03:25that managed to break this barrier?
03:28I think the affection, the humanity of these people,
03:31these are not characters, these are people.
03:34They exist in this movie.
03:36This is the merit of Waltinho, a real master,
03:40how he conducts a story, with his sensibility.
03:43I think that's what's making the movie so appreciated
03:48by the outside world, and now it's time for Brazil,
03:50and we are very moved by this moment.
03:52You know that Brazil is a continental island, right?
03:55It's a continent with 200 million people
03:58who watch their own culture, listen to their own music,
04:02but we often feel isolated,
04:05even because everyone else speaks Spanish.
04:09Even the question of the Latin community,
04:12we sometimes feel like we're part of it and not part of it,
04:15we are my weird cousin,
04:17and from time to time we can express ourselves to the world,
04:20in the music, always, but in the cinema,
04:23sometimes yes, sometimes no.
04:26In this case, Walter is a devoted guy in the cinema,
04:32a thinker in the cinema,
04:34and when he goes to the cinema, he talks to Wim Wenders,
04:39Walter has this global vision of the cinema,
04:44which I often don't have in Brazil.
04:47If it's here, on my island, with 200 million people,
04:51I'm happy with my life,
04:53but Walter has this bridge,
04:55of what is the language of his movie,
04:58inserted in the world cinema.
05:00So I don't think it's a coincidence that after Centaur,
05:04so many years later,
05:06it's a movie that has overcome this communication barrier
05:09between Brazil and the world.