Marcelo Gomes Steps Into Television to Tackle HIV Epidemic in Brazil With HBO’s ‘Oxygen Masks Will (Not) Drop Automatically’

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After three decades in his career, renowned Brazilian director Marcelo Gomes (“Cinema, Aspirins and Vultures”) is making his television debut for the first time. The upcoming HBO/Max series “Oxygen Masks Will Not Drop Automatically” is a five-episode drama inspired by true events, centering around a group of Brazilian flight attendants who devised a plan to smuggle HIV treatment from the United States in the 1980s. This groundbreaking series will premiere as part of this year’s Berlinale Series Market Selects.

In the pulsating cityscape of Rio de Janeiro during the late 1980s, I find myself in the role of Nando, portrayed by Johnny Massaro from “Hidden Truths”. Diagnosed as HIV positive amidst the rampant epidemic, my character decides to risk it all and smuggle AZT, a groundbreaking treatment yet unapproved by our local health authorities, back into our country. By my side throughout this ordeal is Bruna Linzmeyer, an actress I worked with in “Cidade’ Campo” last year alongside Juliana Rojas. She plays Léa, my closest friend, who must grapple not only with my diagnosis but also an unforeseen pregnancy stemming from a passionate affair with a married man.

Prior to the Berlinale, Gomes shared that he had been offered to direct other series in the past, but they didn’t resonate with his passions. However, when he came across the script for “Oxygen Masks Will (Not) Drop Automatically,” it instantly captivated him and he felt compelled to be a part of the project.

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Before the Berlinale, Gomes disclosed that other series directing opportunities had been presented to him previously, but they didn’t match his interests. Yet, when he encountered the script for “Oxygen Masks Will (Not) Drop Automatically,” it struck a chord and he felt drawn to participate in the project.

The narrative unfolds in Brazil during a period when the country was emerging from a harsh dictatorship, eager to reclaim joy, freedom, and camaraderie. However, just as we were beginning to rejoice, an epidemic, carrying a strong sexual connotation, swept through. This was met with immense rejection by conservative circles in Brazil. The disease brought about a repugnant stigma, and I believe it’s crucial to share this tale, not only for Brazil but also the world, as history often witnesses waves of conservatism that erode human connection.

Gomes points out that “the newer generation is unaware of the impact of the HIV epidemic,” as they primarily learn about it through movies and TV shows, yet struggle to fully comprehend the emotional turmoil experienced during that period. Gomes personally knew many individuals who lost their lives to HIV, making reminiscing about those times particularly poignant for him. Furthermore, he wishes to recall the significant prejudice Brazil faced in the 80s and contemplate on a government that, not long ago, fostered such discriminatory attitudes.

Gomes underscores the significance of airing a series similar to ours during such a politically challenging period globally. He expresses that at times, it seems as if we’ve stepped back into the Middle Ages, as if all the advancements made in the past five decades never occurred. It is crucial, he stresses, to demonstrate that solidarity is vital for securing rights for minorities because this struggle is still ongoing.

Massaro reinforces this idea to EbMaster, stating that the series serves not just as a memory of the HIV epidemic but also as a warning: the battle against it is ongoing, as demonstrated by the latest US elections. The significance of work such as ours lies in its ability to spark discussions about HIV, for without it, we might not be having this very conversation today.

As a devoted fan, I found myself captivated by the project primarily because of my profound respect for Gomes. However, it was also the exceptional caliber of the scripts that truly drew me in. For me, a tale’s ability to evoke deep emotions within me – and the opportunity to serve as the conduit for those feelings – is pivotal when considering any role. This sentiment resonates with Linzmeyer too, who firmly believes that fiction holds a remarkable capacity for emotional bonding with audiences. She also emphasizes that this series provides us a unique platform to comprehend and empathize with the sociopolitical issues faced by a marginalized community today.

Gomes praises his collaboration with HBO/Max in Brazil, stating that they had a “wonderful working relationship.” He explains that they were extremely receptive to their suggestions, from the crucial sex scenes needed to depict the early days of HIV, to the casting and shooting style of the series. The partnership was marked by great respect and nurturing, leaving him content throughout the process.

The visual style of the series combines digital effects with those reminiscent of Super 8 and 16mm film to capture the atmosphere of the ’80s, paying meticulous attention not only to set design but also to music selection. Gomes explains that they utilized vintage VHS cameras, creating an illusion that some scenes might be archival footage, when in fact they were all self-shot. This self-shooting approach, according to him, adds authenticity to the narrative. Additionally, they made efforts to recreate the cabin interiors of ’80s aircraft and the uniforms worn by flight attendants.

Producer Ernesto Soto expresses how significant it feels for their team to be part of such a large-scale festival like Berlin, given our series has deep roots in Brazil but resonates globally. He emphasizes their ambition for this narrative to journey across borders.

Since our funding method allows us ownership, we can also offer the project for sale in territories beyond Latin America. It’s exciting to imagine it airing on European and global broadcast stations,” he notes.

The announcement that the series would be performed in Berlin arrived when Massaro was grappling with self-doubt, finding it a timely encouragement to keep believing that things occur at the right moment. “I understand that the Berlinale serves as a global stage. I hope that those living with HIV feel welcomed and those who aren’t may gain empathy and broaden their comprehension of what it entails to live with the virus in today’s world.

The Production ‘Oxygen Masks Will Not Fall on Their Own’ is a Collaboration Between Morena Filmes (Mariza Leão, Tiago Rezende, and Thiago Pimentel) and HBO/Warner. The Premiere Date has not Been Determined.

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2025-02-18 13:16