Barrenvento is a 1962 Brazilian film

Cinema of Brazil

Brazilian cinema was introduced early in the 20th century but took some time to consolidate itself as a popular form of entertainment. The film industry of Brazil has gone through periods of ups and downs, a reflection of its dependency on State funding and incentives.- Early days :A couple of...

 and the feature debut of film director Glauber Rocha. The movie stars Antonio Pitanga, Lucy de Carvalho, and Aldo Teixeira. It belongs to the Cinema Novo

Cinema Novo

Cinema Novo was practised by Brazilian filmmakers in the 1950s and 1960s. In Portugal, Novo Cinema flourished after the 1960s, where it lasted, inspired by Italian Neo-Realism and the French movement of the New wave, the direct cinema techniques, and by the ideals the Carnation Revolution up to...

movement, addressing the socio-political problems of 1960s Brazil.

Synopsis

In a village of xaréu (Kingfish) fishermen, whose ancestors came as slaves from Africa, persist old mystic cults connected to candomblé. The arrival of Firmino, a former inhabitant who moved to Salvador, running away from poverty, transforms the peaceable panorama of the place, and polarizes tensions. Firmino is attracted to Quota, but he is not able to forget Naína who, on her part, likes Aruã. Firmino orders dispatch against Aruã, that isn’t attained, in opposite to the village that sees the cut net, impeding the fishing. Firmino stirs up the fishermen to revolt against the owner of the net, coming to destroy it. Policemen arrive at the village to control the equipment. In his fight against the exploration, Firmino argues against the master, mediator between the fishermen and the owner of the net. A fisherman convinces Aruã of fishing without the net, since his chastity would make him a protected man of Iemanjá. The fishermen are successful in their piecework, under the leadership of Aruã. Naína reveals her impossible love for Aruã to an old black woman. In his defeat against mysticism, Firmino convinces Quota of taking away Aruã’s virginity, and consequently breaking the religious enchantment that makes him a protected man of Iemanjá. Aruã takes the bait. A storm announces the “barravento”, the violent moment. The fishermen leave for the sea, two of them die, Vicente and Chico. Firmino denounces Aruã’s loss of chastity. The Master reneges. The dead bodies are guarded, and Naína accepts to make the ritual, so she can marry Aruã. He promises the marriage, but before he decides to leave for the city to work and to earn money for the purchase of a new net. In the same place where Firmino arrived at the village, Aruã leaves for the city.

External links

• Barravento @ Tempo Glauber