Soccer Star Vinicius Jr. and Trailblazing Trans Cast Lead Bold Brazilian Debuts at Cannes

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At the Festival do Rio Goes to Cannes event, soccer star Vinicius Jr.’s debut film as a producer, titled “Clarice and the Stars,” and the boundary-breaking movie “Amanda and Caio” with an entirely transgender cast are featured. These films tackle important topics such as race, gender, and ultra-conservatism.

On our way to the Cannes Film Festival, where the Market du Film will feature five screenings organized by film festivals globally, the event Festival do Rio Goes to Cannes is set for May 17.

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We’re headed to the Cannes Film Festival, where the Marché du Film market offers five showcases arranged by international film festivals. The Festival do Rio Goes to Cannes will take place on May 17.

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Heading to the Cannes Film Festival this year, the Market du Film will include screenings organized by various global film festivals, one of which is Festival do Rio Goes to Cannes, happening on May 17.

Based on trailers, it seems that “Clarice and the Stars” is a heartwarming coming-of-age fantasy drama. This movie is jointly produced by Brazil’s Luminar and Aurora Aurora E², with additional co-production from Brazil’s Instituto Vini Jr., an NGO founded in 2021 by a Real Madrid player to provide education opportunities for children living in underprivileged areas.

Amanda and Caio” is the newest movie from Daniel Ribeiro, who previously won the Berlinale Queer Teddy Award and a Panorama Fipresci Award for his debut film in 2014 titled “The Way He Looks.” In simpler terms, this means that Daniel Ribeiro made a popular film called “Amanda and Caio,” which is his latest production, and he previously won two awards for another movie he made in 2014 called “The Way He Looks.

As a movie critic, I’m thrilled to share my thoughts on some of the upcoming films that will grace our screens. Among these are the Brazilian competition entries, such as Kleber Mendoça Filho’s “The Secret Agent” and the co-production “The Black Snake,” which is featured in Cannes’ ACID section. These masterpieces also find a place in market selections like Fernanda Alves Salgado’s poignant, grief-focused animation “Ana, en passant,” showcased at Cannes’ Annecy Animation Showcase. Additionally, genre enthusiasts will be eagerly awaiting the soon-to-be announced Marché showcases, including the Blood Window, where more cinematic gems are sure to be unveiled.

Held under the backing of the Brazilian government and organized by the Marché du Film alongside the Rio de Janeiro International Film Festival, the country’s main film event, Festival do Rio Goes to Cannes gains significant importance as it serves as a showcase for Brazil during this year’s Country of Honor festivities at the Cannes Film Festival.

The selection includes movies set not only in Rio de Janeiro (“Clarice and the Stars”), but also São Paulo (“Amanda and Caio,” “Sistermaids”), Alagoas in Northeastern Brazil (“We Are Not Dreaming”) and Santa Catarina in Southern Brazil (“Virtuous Women”). This lineup provides a glimpse into the various artistic and industrial trends running through modern Brazilian filmmaking, as demonstrated by these five films and their profiles.

A Next Generation Medley

In 2008, Ribeiro (“Perfect Endings”) made a splash with his short film “You, Me Him,” which won the best short award at Berlinale’s Generation 14plus. Since then, he has accumulated an impressive 54 festival wins. Similar to Ribeiro, directors Leticia Pires, Ulisses Arthur, Cintia Domit Bittar, and Carol Rodrigues are all newcomers in the realm of fiction feature films.

Envelope Pushing Brazil

In the face of growing autocracy in the U.S., Brazil’s cinema is making a valiant effort to aid its nation in moving forward. The Festival do Rio lineup embodies the fresh spirit and momentum under President Luiz Inácio Lula da Silva, as it champions the film and television industry within Brazil.

As a film enthusiast, I’m particularly drawn to productions that challenge the status quo and push boundaries, such as “Amanda and Caio.” In a time when the trans community is facing numerous attacks, this film courageously goes against the grain by featuring an entirely transgender cast – from the leading actors to the background extras. Moreover, “Sistermaids” tackles not only racism but also the less commonly addressed issue of colorism – discrimination based on skin tone. This collection of five titles, created by young Black filmmakers or those with a transgender focus, also confronts ultraconservatism head-on, making them must-watch for anyone seeking to broaden their understanding and empathy.

Inclusivity

In the film “Amanda and Caio,” although it features a transgender cast, their experiences are incredibly relatable to many viewers. Similarly, the movie “Clarice And The Stars” steers clear of the typically marginalized narratives on screen, according to writer-director Leticia Pires. Vinicius Jr.’s participation in the project underscores its aim to provide a meaningful and inclusive cinematic experience, where people who seldom see themselves on screen can now identify, asserts Marcos Pieri, a creative producer at Aurora E². Just like “Sistermaids,” which initially aimed to explore how racism and colorism impact Black family relationships, according to director Carol Rodrigues.

Brazil’s Big Money Surge

2019 marked a shift in Brazil under Bolsonaro’s presidency, with the Independent Tribunal of Accounts (TCU) halting fresh incentives from the Federal Film and TV Agency (FSA). However, now, federal funding, regional support, or other resources are fueling a resurgence in Brazil’s film industry. Interestingly, all five productions we’re discussing have been supported by FSA funding. “Clarice” received backing from Rio de Janeiro’s investment fund, RioFilme; the completion and post-production of “Sistermaids” were made possible due to Paulo Gustavo Law COVID-19 recuperation funding, according to Rodrigues. “Virtuous Women” was even granted support by the Santa Catarina government.

Women-Lead Genre

Among the many captivating cinematic experiences in Latin America, none quite match the thrill of women’s genre films that challenge and redefine traditional gender norms through innovative storytelling. Films like “Friendly Beast,” “Good Manners,” “Medusa,” “Clara Sola” and “Huesera” are prime examples. In this category, “Sistermaids” leans into the mystical or at least magical realism. “Virtuosas,” on the other hand, distinguishes itself as a feminist horror that transcends the ‘final girl’ trope. Instead, it delves deep into the psyche of intricate, imperfect women who grapple with or manipulate corrupted faith, according to director Cíntia Domit Bittar.

And the titles: 

“Amanda and Caio,” (“Eu Vou Ter Saudades de Você,” Daniel Ribeiro)

After spending seven years as a couple, Amanda and Caio decide to live together. Caio harbors dreams of a future with her, while Amanda yearns for something more. However, things change when Amanda encounters João. The logline states, “Some loves fade; others evolve.” This is a dramatic exploration of a relationship from Ribeiro and his long-time producer Diana Almeida at São Paulo’s Lacuna Filmes. It could potentially be the first feature film to star an entirely transgender cast, according to Almeida. She describes the movie as rooted in affection, complexity, and transformation, saying it is a story about breaking up that feels authentic and relatable, focusing on trans characters but resonating with universal emotions.

“Clarice and the Stars,” (“Clarice Vê Estrelas,” Leticia Pires)

8-year-old Clarice is instructed to prepare for a new addition to the family. Overwhelmed by the possibility of no longer being her parents’ favorite, she discovers a mystical book in the attic that takes her on an adventure to Circus Aquarius, teaching her how to confront her fears. As Pieri, the producer, describes it, “Clarice” is a deeply personal and poetic portrayal of childhood, creativity, and determination. This film is primarily produced by Luminar Filmes, established by Pires for giving opportunities to professionals who have been traditionally excluded from the industry. It’s also co-produced by Instituto Vini Jr. and Aurora E², whose “Magdalena” was showcased in the 2021 Rotterdam Festival and San Sebastian’s Horizontes Latinos strand.

“Sistermaids,” (“Criadas,” Carol Rodrigues)

Julia Zakia, producer-DP at Gato do Parque Cinematográfica, describes ‘Sistermaids’ as a psychological drama that incorporates supernatural elements, with Black women taking on writing, directing, and leading roles. The story follows Sandra as she returns to the home of her cousin Mariana, where they both grew up. Despite being Black women, society has perceived them differently based on their skin tones. As they rekindle their relationship, long-buried memories resurface: Memories of their shared past, of family heritage, and of love that lingered. ‘Sistermaids’ won three awards at the 2017 BrLab and received an Honorable Mention for screenwriting at Frapa 2020. According to Rodrigues, this movie is about seeking forgiveness, learning self-forgiveness, and healing from past violence.

“Virtuous Women,” (“Virtuosas,” Cíntia Domit Bittar) 

A secluded VIP sanctuary for devout Christian females descends into turmoil and terror, shrouded by an enigmatic witch folklore. This is the fictional debut of Domit Bittar, whose 2019 short film “Summer Ball” won the best short award at Colombia’s Cartagena Festival. According to Bittar, the movie skillfully combines dark humor, societal critique of extreme conservatism, Christian fundamentalist denial, and suspenseful unease to create a gripping tale of power struggles and paranoia. It also serves as a warning against undervaluing the strength of conservative women’s movements. As producer Ana Paula Mendes notes, this film provides an unusual perspective on Brazil seldom portrayed in cinema.

“We Are Not Dreaming,” (Ulisses Arthur)

Arthur refers to it as a ‘seductive, rebellious drama,’ and it was chosen for Incubadora Paradiso, part of Projeto Paradiso, where its script was guided by acclaimed director Marcelo Gomes (“Cinema, Aspirins and Vultures”). This showcases the admirable camaraderie within Brazilian cinema. Titled “We Are Not Dreaming,” the story revolves around Ciro, a medical student who doubles as a pole dancing instructor for his friends. When scholarships are delayed, he moves into the apartment of DJ Antônio. The movie highlights the pulsating energy and dynamism of young black Brazilians ascending socially, occupying influential roles, and reshaping a country previously dominated by white structures. According to Arthur, it’s produced by Céu Vermelho Fogo Filmes, which emphasizes auteurist, unconventional perspectives, particularly concerning race and queerness in modern Brazil.

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2025-05-04 15:17