Infuriating and Gripping, Apocalypse in the Tropics Must Be Seen

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For Americans viewing “Apocalypse in the Tropics,” Petra Costa’s documentary about Evangelical Christianity’s expansion in Brazil, it might at times seem like observing a mirror image of the U.S. We will recognize the increasing bond between clergy and politicians, both espousing millenarian and authoritarian discourse. There are also the demands for judges’ dismissal, allegations of electoral fraud beforehand, and the unsettling sight of an agitated far-right group storming federal buildings following Jair Bolsonaro’s loss in Brazil’s presidential election. However, despite these images reverberating globally (and Bolsonaro’s supporters being influenced by the events of January 6, 2021), Costa keeps her gaze firmly on Brazil’s distinctive circumstances. Her film resonates not primarily as a warning to foreigners but because she aims to decipher the factors that led her own nation down this path. (It’s worth noting that Donald Trump recently declared his intention to impose a 50% tariff on goods from Brazil, despite the U.S. having a trade surplus with that country. His stated reason, expressed in capital letters, was “The way that Brazil has treated former President Bolsonaro, A HIGHLY RESPECTED LEADER throughout the world during his term.”)

In the film “Apocalypse in the Tropics,” which begins its theatrical run today and will air on Netflix on July 14th, the protagonist Silas Malafaia is prominently featured. He’s a highly influential right-wing Pentecostal pastor who has cultivated close ties with political figures, creating a mutually beneficial relationship with power. Interestingly, he once supported Luiz Inácio Lula da Silva, a left-wing presidential candidate in 2002; later, his alliance with Bolsonaro elevated the latter from a relatively unknown right-wing figure to a serious contender for presidency. Over time, Costa has managed to record Malafaia on multiple occasions, showcasing both his fiery public performances and more private moments. The film is an impressive demonstration of access. Both his eloquence and megalomania are evident in these instances. He seems to grasp the allure of his brand of Christianity for a population grappling with economic and political upheaval; he points out that since the 1980s, Evangelicalism has expanded from a minor sect to over 30% of the nation. Moreover, he understands the immense power this affords him, which explains why he’s willing to endorse, support, and in many cases mold politicians, seemingly abandoning the country’s secular tradition.

Costa’s film serves as a personal mourning and a grand perspective on a vast and intricate sociocultural event, portrayed in Brasília’s history. The movie weaves together various narratives. It starts with archival footage from the late 1950s and early ’60s showing the construction of Brasília’s capital city and its Plaza of Three Powers, completed in 1960. Costa describes how the three branches of the federal government were designed in a triangular layout to symbolize the country’s aspirations for democracy. The Metropolitan Cathedral of Brasília was initially intended to be nearby, but city planners chose to move it elsewhere as a gesture towards separating church and state. Throughout the film, Costa illustrates that despite the turmoil, which included a severe military dictatorship and numerous impeachments, the underlying driving force behind these events were human decisions – sometimes flawed and even cruel.

In recent years, particularly following the 2014 financial crisis and a period of political instability, Evangelicalism has gained significant influence, leading to a new generation of leaders who have handed control over to religion. Democracy takes a backseat in their view, with Brazil considered to be under the Lord’s jurisdiction. Since the Lord remains silent, it is figures like Silas Malafaia and others who claim to interpret what the Lord wants.

In her own admission, the film’s director struggled to comprehend this complex phenomenon for numerous years, growing up in a non-religious household with limited understanding of religion and its impact on the nation’s marginalized communities. At the film’s start, she visits Evangelical congressional representatives in 2016 and receives a Bible from them, who advise her to begin with the New Testament. As the movie unfolds, the director’s personal exploration of Christian doctrine serves as one of its central themes, intertwining with the depiction of Evangelicalism’s evolution over the decades and the 2022 election that saw Lula defeat Bolsonaro. The film skillfully combines elements of a personal essay, sociocultural portrait, and political thriller. Similar in essence to Costa’s Oscar-nominated 2019 documentary, The Edge of Democracy, also distributed by Netflix, it is both rich and dense yet propelled forward by contemporary events, gaining momentum as events approach their climactic assault on Brasília – the same federal buildings that once symbolized hope 60 years ago. The fear and sorrow portrayed in the movie are balanced by the beauty of Costa’s cinematography.

Costa’s documentary is not just a black-and-white portrayal of good versus evil; instead, it reflects her keen perspective and compassionate nature. She recognizes that the situation she’s depicting is not a malicious, controlled scheme but a complex reality stemming from despair and helplessness. Lula provides an insightful interview where he discusses how Evangelicalism offers a straightforward and appealing solution to those in need: A jobless worker seeking aid may encounter calls for activism and protest from unions, or spiritual advice about suffering from the Catholic Church. However, the Evangelical solution – trust in Jesus and you will be saved – is direct, hopeful, and doesn’t demand any sacrifice. Lula admits that he himself would never attempt to campaign within a church. However, we later witness him making overt appeals to believers during Brazil’s presidential runoff – a runoff which he won. Therefore, Bolsonaro’s defeat does not signal the waning of religious fervor; it might simply be another success in its ongoing influence. Despite Costa’s optimistic conclusion that the word “apocalypse” means rebirth, we are left with an uncertain and troubling future for Brazil and other countries alike.

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2025-07-11 23:54