Brazilian president Dilma Roussef, accused of violating fiscal laws, was suspended from government two weeks ago and faces an impeachment trial. Supporters of Roussef refer to her removal as a coup d'état. Former Vice President Michel Temer, who leans to the right, has taken over as Acting President and named a new cabinet.
What does that have to do with the Cannes film festival?
Brazilian film director Kleber Mendonça Filho, at Cannes with his Competition film Aquarius, mounted the Red Carpet with his team carrying signs of protest. The signs read:
Brazil is Not a Democracy
A Coup Took Place in Brazil
Dilma, We Will Resist With You
They turned and faced the cameras.
"They now want to boycott my film in Brazil," Kleber whispered to me on the terrace of the Silencio bar in Cannes.
His publicist took out her cell phone and showed me the Twitter messages that have gone wild on the web.
"Don't go see Aquarius!" read the Tweets.
Hence another good reason to see Aquarius, a wonderful energetic film starring the stunning actress Sonia Braga, with a political angle of its own.
Aquarius is the story of Clara, a gorgeous sixty-five year old retired music critic who lives alone in an ocean-front apartment in Recife and is menaced by developers who want her to leave her apartment, so they can tear down the two-story building to create a high rise. The developers have successfully pushed out all the other inhabitants in the building. Clara is the only one left.
It is a pleasure to watch this nearly 3 hour long film, just to be enraptured by the captivating Sonia Braga, whose dignity, strength and beauty fascinate in every scene. I did not know this actress, who apparently is a longstanding favorite in Brazil. Her eyes are brilliant with life; her body lithe and determined. Her eccentric position, as a woman alone living in an abandoned building ("without even a security guard!" admonish the developers, in a smooth attempt to persuade the iron-staunch lady), does not detract from her glow of happiness.
"It's about resistance, but also about the energy you get from trying to survive, to defend yourself," the director said.
Another great reason to see this film: just to feel the freshness of Brazil. No matter the conflict, one cannot help but marvel at the high spirits and glorious sun that pervade every shot, from the opening scene of teenagers joyfully listening to music in a parked car, to those of Clara strolling down the beach.
I saw this film right after the intensely dark Romanian film Graduation and a greater contrast in cultural spirit could not be found.
Although there was one thing in common: corruption.
I asked the director to help me out with understanding the political context of his film. One issue was confusing to me. Clara protests at one point that it is the elite who run the country of Brazil (the developers pushing for urban sprawl, the politicians in cahoots with them), and that others are powerless to defend themselves.
But Clara seems to be part of the elite.
"She has a large oceanfront large apartment; she is an intellectual and a successful critic," I said to the director. "She is certainly not poor or marginal."
Why does she feel helpless against the elite, when she is one of them?
The director--and other Brazilians at the festival--explained to me that there is a difference in Brazil between the cultural elite and the political elite.
A difference that is being played out right now in the protest, coming from the right, against the director's film.
"Brazil is divided in two right now," said Sonia Braga.
She looked straight ahead, as poised as her character Clara in the film.
"This transition is going to be very hurtful for our democracy, that was hard to get in the first place."
"I fear the right is moving towards fascism," confided the director.
He noted that Michel Temer recently abolished the Cultural Ministry.