Over the past few years since its debut, the “Contrechamp” section at Annecy has become a go-to destination for bold indie films, and this year’s lineup showcases exceptional strength.
Among a select few, hails the debut film of Minas Gerais director Tania Anaya – titled “Nimuendajú”. This Brazilian-Peruvian collaboration chronicles the life of Curt “Nimuendajú” Unckel (1883–1945), a German-born social scientist who spent 40 years living among Indigenous communities.
In this rephrased version, I tried to maintain the original structure and content while using more conversational language and simplifying some terms for easier reading.
In the film, Peter Ketnath, who plays Curt and co-produces it as well, was baptized in 1906 by the Guarani tribe and given the name “Nimuendajú,” which translates to “the one who made himself a home” in the Guarani language. This individual devoted his life to exploring and gaining insight into diverse cultures.
Consequently, he directly observed the oppression inflicted upon Native peoples, and became among the initial advocates from the West to bring attention to these harsh evictions.
Director Tania Anaya is traveling to Annecy accompanied by Brazilian distributor O2 Play, who holds both domestic and international rights for her film. Before unveiling her project to the Annecy audience, EbMaster sat down with Anaya to discuss the creative journey behind this feature film, a process that took thirteen years to complete.
What brought you to animation in the first place?
At the Federal University of Minas Gerais’ School of Fine Arts, I was engrossed in my studies, but animation wasn’t on my radar much due to limited knowledge beyond what I saw in Disney movies and television cartoons, which didn’t captivate me greatly.
During that period, a joint venture was being forged between Brazil and Canada, which encompassed the establishment of animation studios in Brazil, in conjunction with the National Film Board of Canada. This collaboration was introduced to the School of Fine Arts by a Brazilian animator named Marcos Magalhães, and I was captivated by the diverse films he displayed. These films showcased various techniques, such as oil pastels, colored pencils, acetate, cut-outs, painting, pinscreen, among others.
At our school, we established an animation studio, and that’s where I began my studies. Since then, I’ve been deeply engrossed in this world. To this very day, Norman McLaren, a remarkable artist who co-founded the NFB, continues to be one of my most significant influences.
How did you encounter the figure of Curt Nimuendajú?
I’d like to discuss Curt Nimuendajú, a man who straddled two distinct cultures. “Nimuendendaju” chronicles the life of an autodidact who relinquished his original surname in favor of adopting an indigenous one.
Nimuendajú divided his time for several years between two distinct realms: six months immersed in indigenous communities deep within Brazil, and six months residing in the urban center of Belém. During this period, he meticulously documented everything he had discovered and experienced. Living a life that bridged the gap between the “white world” and the “indigenous world,” between rural landscapes and bustling cities, Nimuendajú was a diligent, dedicated, passionate, and keen observer. With each indigenous group, he transformed himself anew, forging bonds of affection, learning, and recording their ways.
Curt Nimuendajú amassed and systematized an unprecedented volume of information regarding Brazil’s Indigenous populations, investigating close to fifty distinct tribes. To this day, his research remains significant and valuable.
To me, his unyielding commitment serves as an inspiration, while Nimuendajú’s journey offers valuable insights for addressing Indigenous matters.
How has the material you’ve found throughout your research influenced your creative process?
Our study, named Nimuendajú, is grounded in historical accounts, ethnographic works he authored, and records – be they personal diaries, letters, or documentation left by other scholars who investigated him. His writings and photos capture his intense, firsthand spirit. However, given the intricate themes this subject encompasses, going beyond simple historical exploration, we devised a distinctive methodology for our approach.
We brought aboard anthropologist Elena Welper, an expert on Curt Nimuendajú, as our advisor during the entire filmmaking process. Beyond her extensive knowledge of Nimuendajú’s archives, she also translated a significant amount of material from German and shared with us her infectious enthusiasm, highlighting details that might have otherwise been overlooked.
At the scriptwriting phase, we benefited from anthropologist Julio Cezar Melatti’s expertise. He is a specialist in the Timbira tribe, whose study was carried out by Nimuendajú and portrayed in the movie.
Or simpler:
During scriptwriting, anthropologist Julio Cezar Melatti, who specializes in the Timbira people, provided us with valuable insights. His work was based on Nimuendajú’s study and is depicted in the film.
Our greatest challenge was to synthesize all this in an 80-minute film.
How has the involvement of the Indigenous communities you’ve worked with influenced the film?
To truly capture the authentic essence of each indigenous community, we filmed on-site, immersing ourselves in their daily lives, tuning into their languages and music. This approach was crucial to steer clear from broad stereotypes about indigenous cultures. Instead, we aimed to portray each group as a distinct universe, richly unique with its own artistic, cultural, social, and political palette.
This encounter significantly deepened our team’s comprehension, revealing aspects not explicitly depicted in the script or storyboard. Peter Ketnath found his portrayal of Curt Nimuendajú particularly enhanced due to this experience.
A crucial element during on-site filming was capturing ambient sounds, dialogue, and traditional songs from Indigenous communities. These recordings served as the foundation for creating the soundtrack that formed the backbone of the entire animated production.
Filming in indigenous communities opened up perspectives we hadn’t considered before, setting us up for fresh storytelling. Collaborating with the native people was fruitful, marked by curiosity, teamwork, and a knack for resolving even the trickiest predicaments.
In the filming process, the villagers of Apinayé recreated an ancient tradition that had been dormant for four decades, as documented by Curt Nimuendajú. This revival included the entire community and culminated in a song, where they sought forgiveness from their ancestors for their lapse in memory.
In the Canela-Rankokamekrá community during the 1930s, family members such as uncles, grandparents, and relatives who interacted with Curt Nimuendajú were portrayed by their descendants like grandchildren and nephews. This resulted in a deeply emotional and impactful tone for the film.
It’s intriguing to notice that the lead character in the movie doesn’t have a spotless, heroic image. What led to the decision to cast doubt on his heroism?
In Eisenstein’s own words: “How should I write such that the character, regardless of who they are, steps off the pages of their story as a tangible, living, breathing being, with a vividness and conviction that makes them seem half-real to me?
Curt Nimuendajú, a man from his era, carried numerous flaws and questionable decisions, ones that seem more severe in our modern perspective. Yet, his unyielding determination and undeniable empathy towards the Indigenous communities he resided among and formed bonds with remains highly significant today. His imperfections serve as a reminder of his human nature.
What were the main technical challenges of creating this feature film?
Initially, I opted for live-action recording instead of animation. In the year 2012, with a minimal team, we embarked on this project which turned out to be an exciting journey marked by unexpected events and spontaneous improvisations in Indigenous villages. Due to limited resources, amenities such as the internet, telephone, or even electricity were not available most of the time, so we relied solely on natural light for our filming.
Despite language barriers occasionally leading to misunderstandings, filming in an indigenous region turned out to be a profoundly physical and spiritual journey for me, one that I’m thrilled to have embarked upon. The chance to connect with the local people and immerse myself in their unique environments significantly shaped the narrative we were aiming to convey. As previously stated, our script underwent substantial revisions following our visits to indigenous villages.
To create this period movie, numerous adjustments were necessary in the animation process, even though some scenes used real footage. For instance, the Indigenous characters wore shorts during filming but were depicted as if they were nude in the animated version. Many had short hair that needed to be changed to long hair for the animation. All elements were altered to portray the early 20th century accurately.
To ensure our team of animators could create lifelike visuals, we needed to provide training in realistically depicting the human form. Many of them were previously skilled in more stylized or cartoonish animation.
Instead of relying solely on rotoscoping the filmed images, we aimed to infuse our unique artistic touch into the film. This meant incorporating distinct line variations and focusing on anatomy, reminiscent of Egon Schiele’s style. Our goal was to transform the characters, break free from the constraints of the original footage, and delve into the realm of imagination. To achieve this, we utilized the filmed images only for our key drawings; all other elements were hand-drawn in the traditional 2D animation style.
At every step, fresh obstacles emerged. In Brazil, the number of full-length animated productions remains limited, resulting in a shortage of expert professionals and well-defined career paths. This captivating journey has been both about doing and learning, a process that continues to unfold today.
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Each phase brought forth new hurdles. In Brazil, the quantity of full-length animation projects is still scarce, leading to a deficit in specialized professionals and structured career paths. This intriguing journey has been about both practicing and educating oneself, a process that persists even today.
What’s your take on the current status of animation in Brazil, and have there been any significant changes or advancements throughout your professional journey?
In 2023, when Lula’s government returned, audiovisual public policies were reinstated, bringing a sense of stability and numerous opportunities for the sector. Various associations, unions, and groups are contributing to the regulation of the animation market, which has expanded significantly and now employs many people, creating a thriving ecosystem.
It’s important to tailor these public policies for the unique aspects of animation. For instance, creating an animated film can take a long time, such as 13 years for “Nimuendajú”. Therefore, it requires additional support due to its extended production period. While animation tends to be more costly than live-action productions, it has managed to reduce costs significantly compared to the latter.
In recent times, we’ve seen a substantial growth in the creation of animated series, video games, and movies within Brazil. This expansion not only fosters the education of fresh artistic talents and technical professionals but also boosts curiosity towards animation education, as well as international collaboration projects.
Given that the theme of the movie resonates significantly with current global events, where minorities are often subjected to harassment and even potential extinction, I’m curious about your feelings in distributing this film today.
The core narrative of the movie revolves around the struggle between the “Western society” and the “Native cultures” during the early 1900s. Regrettably, this struggle remains pertinent even over a hundred years since then.
Violent clashes persisted across the 20th century. An instance of this took place in 1950, when the Xetá people were tragically wiped out in southern Brazil. In the 1960s, the building of a vast highway in the southwest Amazon brought about the destruction of numerous Indigenous tribes. Similar events unfolded in the early 1970s during the construction of the Trans-Amazonian highway.
Surviving indigenous communities are currently grappling with the same hate-filled hostility they endured before. The influence of the former far-right government led by Bolsonaro (2019-2022) continues to be felt, manifesting in arsons, killings of indigenous leaders, and illegal mining and logging activities on their lands.
In the story “Nimuendajú,” our protagonist encounters native conflicts squarely, given that he’s right in the midst of these matters when interacting with his indigenous peers.
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2025-06-07 15:48