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Manifestações Artísticas / 30/07/2021

WORLD CULTURE

Lucia Murat's new film revisits painful memories of Latin America

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Lucia Murat's new film revisits painful memories of Latin America


In “Ana. Untitled”, the search for an artist, woman, black, liberator, leads a journey to environments of oppression and effervescence in the memory of the continent

Lucia Murat lived the oppression of the dictatorship, felt the pain of prison and torture in her own skin, and takes these marks to her films. In Ana. Sem Título, with release in theaters next Thursday (29), the documentary maker also revisits other countries in Latin America. And so, through different stories and environments, the film tells the saga of a team looking for Ana – a black, Brazilian artist, human rights activist – based on letters exchanged between Latin American women artists during the 1970s and 1980.

Countries like Brazil, Argentina and Chile, which lived under bloody dictatorships. Or Mexico, and its liberal democracy intolerant of student rebellion. And Cuba, in the heat of a revolutionary wave, which was even a pretext for dictatorships on the continent.

The cards indicate Ana's directions and outline the itinerary for this team has to go. Thus, filmmaker Lucia Murat, actress Stela, photographer Léo Bittencourt, assistant Andressa Clain Neves, leave Brazil for Cuba, then Argentina, Mexico and Chile. Lucia Murat says that she started the premise that she could make a road movie, document these Latin American artists in their countries, talk about their works, their lives.

Thus, the filmmaker says that she chose this differentiated Brazilian team, representative of different situations: “My generation, which had really lived through that time (of the dictatorship). The one of the photographer who is a generation that didn't live under the dictatorship and the parents didn't have any knowledge either. That of Andreza who lived situations of racism, including in the film itself. And the actress, a created character, and who is obsessed with finding Ana, unlike the rest of the team who worked with their own realities.”

right to memory

The film, freely inspired by the play There is more to the future than the past, by Clarisse Zarvos, Daniele Avila Small and Mariana Barcelos, began shooting in 2018. “We had a very positive coincidence, which was the Radical Women exhibition (at the Pinacoteca de São Paulo), which we start.” Filming in Cuba, Argentina, Mexico and Chile took place in 2019.

“The issue of memory, of human rights museums, very present in the film, ended up having a greater presence precisely because the Bolsonaro government had already been elected”, says Lucia Murat. “And for us it was very impactful that in these countries you had the right to memory, the preservation of memory, a concern with the education of youth in relation to these facts that we didn't have here. And that we always asked ourselves: if we had had this, maybe we wouldn't be living this tragedy. Indeed, the film was not intended to be presented during this pandemic, during the Bolsonaro government, but it was already filmed when Bolsonaro was elected. And I think that also led to the issue of memory having such an impact on the film. That's because it had a great impact on us, who were present in this country.”

We are Ana

Since her first feature film, Que Bom Te Ver Viva, Lucia Murat remembers that she has always worked a lot with the mixture of fiction and documentary, this intersection between two apparently so different ways of making cinema. “It was always a necessity, as if neither of them was enough for me. In Ana's case, I lived this experience in a very radical way. A very big challenge, for the spectator to believe that it is a documentary and that at the same time it had been fictionalized, totally directed.”

Whether Ana is the documentary or fictional part, it's worth checking out Lucia Murat's new film, essential in these times when Brazil seems to have forgotten its worst to the point of reliving it through a stupid character like the current president of the Republic , but tragically real.

“Ana represents all the artists who were silenced, tortured, humiliated. She is a representation of the woman, the Latin American artist, the woman who resisted, the rebellious woman.”

We'll never forget

For Lucia Murat, reliving, in Bolsonaro's speech, part of what led so many thousands of Brazilians to the basements of the dictatorship, is the horror. “What is happening today, what is most tragic for us, former political prisoners, is that we see that the government is the rise of the basement. What we called cellars were the torturers, it was the DOI-Codi (Information Operations Detachment – ​​Internal Defense Operations Center), it was the intelligence and torture system that we lived through during the dictatorship”, he laments.

“Ironically at the time of the dictatorship they denied that torture existed. Torture was institutionalized and existed, but officially the government denied it. Today and we live in such a tragic situation that the government defends torture. So, effectively for us it is a very difficult situation. We see these people talking and remember the torturers, because they talk like the torturers. They are homophobic, they mistreat women, they stutter, they can't speak, they're uneducated. Exactly those people we met in that difficult situation.”


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