1. This photograph by Alcir Lacerda
is from the late '60s.Copy !req
2. It shows the Boa Viagem Church square,
South side of Recife.Copy !req
3. This is the Boa Viagem Hotel,Copy !req
4. a landmarkCopy !req
5. until it was torn down in the 2000s.Copy !req
6. The Boa Viagem Hotel can be seen
in these images…Copy !req
7. With Janet Leigh
and her daughtersCopy !req
8. on a trip to Recife
in the early '60s.Copy !req
9. The square has changed a lot.Copy !req
10. In the '70s, my small family came
to live in this seaside area.Copy !req
11. About 250 meters from the beach.Copy !req
12. Right here.Copy !req
13. On what used to be mangrove.Copy !req
14. Apartment 102.Copy !req
15. The Pioneiro building,Copy !req
16. Number 207Copy !req
17. on José Moreira Leal StreetCopy !req
18. in the neighborhood of Setúbal,
in Recife.Copy !req
19. The 1972 building
has only one floor.Copy !req
20. No stilts.Copy !req
21. The boxy type.Copy !req
22. The apartment's on the top floor,
to the back, away from the street,Copy !req
23. where it's quieter.Copy !req
24. The apartment
has three bedrooms,Copy !req
25. one en suite,Copy !req
26. a living room,Copy !req
27. a guest bathroom,Copy !req
28. and a kitchen/dining area.Copy !req
29. The apartment used to
have a maid's roomCopy !req
30. which my mother, Joselice,Copy !req
31. turned into a study
by knocking down a wall.Copy !req
32. Later, it became a room
for watching films.Copy !req
33. I was ten when we came
to live in this place,Copy !req
34. which my mother financed
through a public bank in 1979.Copy !req
35. This new house meant
a new beginning for my motherCopy !req
36. after her separation
from my father, Kleber.Copy !req
37. Joselice, my mother,
was a historian.Copy !req
38. She studied the abolitionists
Joaquim Nabuco and André RebouçasCopy !req
39. in 19th century Brazil.Copy !req
40. At the Joaquim Nabuco Foundation
where she worked,Copy !req
41. friends joked that she cheated
on Nabuco with Rebouças,Copy !req
42. whose framed portrait
she had on a wall at home.Copy !req
43. Joselice used to say that joke
packed a lot of Brazil in it.Copy !req
44. Years after her death,
I got this tapeCopy !req
45. from a colleague of hers at the
Joaquim Nabuco Foundation.Copy !req
46. One hell of a gift.Copy !req
47. It's an interview
aired on Globo TV in 1981Copy !req
48. in which she talks about
oral history.Copy !req
49. Joselice, tell us about how oral history
will shape your new research.Copy !req
50. Through oral history, we collect information
that's been left out of history.Copy !req
51. We seek to evaluate the subject's life—Copy !req
52. a part, shall we say,
somewhat autobiographical,Copy !req
53. then we move on to verifyCopy !req
54. and collect the data
from that person.Copy !req
55. It may seem like
I'm discussing methodology,Copy !req
56. but I'm talking about love.Copy !req
57. Today, when I remember my mother
and this apartment,Copy !req
58. I understand this place
was radically altered by her.Copy !req
59. Twice.Copy !req
60. The first time was
at the end of the '80sCopy !req
61. and I think there was a sense
of euphoria and uncertainty.Copy !req
62. That's me with my mother,
near our home,Copy !req
63. during the 1989 elections.Copy !req
64. We voted together
once more in 1994,Copy !req
65. one year before she died,
aged 54.Copy !req
66. When Joselice fell ill in 1992,Copy !req
67. I saw she had in this apartment
an extension of her own strength.Copy !req
68. And that's when Joselice
renovated this place a second time.Copy !req
69. It's as if the apartment
had turned into a house,Copy !req
70. as if it had undergone surgery—Copy !req
71. an aggressive but healing surgery.Copy !req
72. Joselice assigned to
my brother Múcio,Copy !req
73. at the time a 20-year-old
architecture student,Copy !req
74. the mission of changing our house.Copy !req
75. This was the first project
he ever designed.Copy !req
76. A fine piece of work, with at least
one youthful reference to Oscar Niemeyer.Copy !req
77. In the 2000s,
this place changed once more.Copy !req
78. Over all these years,
I learned how time changes places.Copy !req
79. What a great picture!Copy !req
80. Martin and Tomás,
right here.Copy !req
81. Here, Tomás!Copy !req
82. Wow, that's a good picture!Copy !req
83. Look.Copy !req
84. Lemme see.Copy !req
85. One way or another,
I lived in this place for 40 years.Copy !req
86. OK?Copy !req
87. Rolling.Copy !req
88. Cut!Copy !req
89. This apartment is also where
I began making films.Copy !req
90. I thought that was good!Copy !req
91. - Little less jumpy, huh?
- Yeah.Copy !req
92. I'm ready, Kleber.Copy !req
93. I must have made
between 10 and 13 films.Copy !req
94. The beach symbolizes paradise,
I think.Copy !req
95. The focus on this camera is
nonexistent, Kleber.Copy !req
96. Whenever you're ready.Copy !req
97. That's good.Copy !req
98. The rug's gone…Copy !req
99. It's been shot from every angle…Copy !req
100. In every room…Copy !req
101. Over…Copy !req
102. 20 years, I'd say.Copy !req
103. Some people would watch
these films and ask:Copy !req
104. "What's with that street,
in Setúbal, in that apartment?"Copy !req
105. Sidclay, wake up!Copy !req
106. It's where I lived.
That's the answer.Copy !req
107. Joselice encouraged me
to make my own filmsCopy !req
108. whichever way I could.Copy !req
109. It was our house—
it was right there.Copy !req
110. For posterity…Copy !req
111. Neighbors acted as extras.
They seemed to enjoy it, I think.Copy !req
112. Cut!Copy !req
113. We also shot in our
next door neighbor's apartment,Copy !req
114. It was good to turn the houseCopy !req
115. into a crowded, workshop
or studio.Copy !req
116. I had told Pedro Sotero
and Fabrício Tadeu,Copy !req
117. the cinematographers for
Neighboring Sounds,Copy !req
118. that I wanted to shoot the street
at night without any special lighting,Copy !req
119. which is a silly idea,
truth be told.Copy !req
120. They showed me it was doable,Copy !req
121. but when I saw the images,
I thought it best to light up the whole street.Copy !req
122. It's when you bring together the mundane
and some cinema look.Copy !req
123. Then it feels like a movie.Copy !req
124. Mariá, this is Sofia.Copy !req
125. - Sofia, Mariá.
- How are you, Sofia?Copy !req
126. Fine, thanks.Copy !req
127. Is there coffee, Mariá?Copy !req
128. - Yeah, I'm just finishing making some.
- I need some.Copy !req
129. Maeve came over for dinner once.Copy !req
130. You're so stuck up
with those glasses.Copy !req
131. Tryin' to act smarter.Copy !req
132. I thought it was funny
that she was sittingCopy !req
133. in the same spot as in
the Neighboring Sounds scene.Copy !req
134. What's that noise?Copy !req
135. Oh, it's the cats.Copy !req
136. A guy had broken into the house next door
to steal the gas container.Copy !req
137. Later, of course,
we re-enacted the whole thing...Copy !req
138. …with my telephone.Copy !req
139. For many years, I photographed
the apartment and the neighborhood.Copy !req
140. And this one time,
I took the picture of a ghost.Copy !req
141. A presence.Copy !req
142. The picture is right in the living room
of our apartment...Copy !req
143. but there's a figure in it,
and I have no idea who it is.Copy !req
144. To this day, I don't know
how this figure ended upCopy !req
145. on my camera,
and on my film.Copy !req
146. All I know is that
the photograph got aroundCopy !req
147. and friends wanted to take me
to a Spiritist center.Copy !req
148. They thought I was a medium.Copy !req
149. Years ago, I got home from the cinema
with Emilie on a Sunday night.Copy !req
150. Sat down at the kitchen table
to smoke a cigarette.Copy !req
151. Then I heard barking
I hadn't heard in years.Copy !req
152. It was Nico barking,
the neighbor's dog.Copy !req
153. There was just a problem:
Nico was dead.Copy !req
154. He died two years after
Neighboring Sounds was released.Copy !req
155. Can't get to sleep, Mom?Copy !req
156. No.Copy !req
157. He will keep on barking…Copy !req
158. I got up, hearing Nico's howls and barks,
and suddenlyCopy !req
159. I understood the film was on Globo,
on national TV.Copy !req
160. And our neighbors were
all watching the film.Copy !req
161. Nico had become a ghost.Copy !req
162. Nico had a bit part
in another of my films.Copy !req
163. Spontaneously.Copy !req
164. I must have recorded the sound
of Nico barking and howlingCopy !req
165. over a few years.Copy !req
166. It was hard to believe
a dog could bark that much.Copy !req
167. He'd bark because
he spent the weekend alone.Copy !req
168. Meaning, he'd spend
all the weekend barking.Copy !req
169. I tried talking to the neighbors,
to no avail.Copy !req
170. They always found a way
to say Nico was not a problem.Copy !req
171. He was actually advantageous.Copy !req
172. They argued that,
if Nico's barking,Copy !req
173. it means thieves will stay away.Copy !req
174. This shot of Nico lying down
was seen just now.Copy !req
175. Take a look.Copy !req
176. The neighbors' house was
overtaken by termites,Copy !req
177. which contaminated our building
and our apartment as well.Copy !req
178. Bastards.Copy !req
179. The termites ended up in another
film of mine Aquarius.Copy !req
180. As it happens,
the neighbors' house, with its pool,Copy !req
181. built in the '70s,
was overtaken by termites…Copy !req
182. Which brought down
the roof over their kitchen.Copy !req
183. After all those years,
the house went bald,Copy !req
184. right in front of our living room.Copy !req
185. The house fell into disrepairCopy !req
186. and nature takes notice.Copy !req
187. It occupies the empty spaces.Copy !req
188. I love animals—
Hove dogs, cats—Copy !req
189. but these cats took over
and got on my nerves.Copy !req
190. So fucking annoying.Copy !req
191. The netting over the window
is a cat deterrent.Copy !req
192. And finally, this.Copy !req
193. The house turned into
a bunker.Copy !req
194. Sometimes it feels like
the house died with that dog.Copy !req
195. The films photographed
the neighborhood's demeanor.Copy !req
196. No, that building's fine,
it's the next one over.Copy !req
197. There, that one there...Copy !req
198. Too much.
Turn the big one a bit.Copy !req
199. There you go,
turn it all the way up.Copy !req
200. Where there were no bars,
bars went up.Copy !req
201. You'd walk into the building
from the street— there was no gate.Copy !req
202. - Clodoaldo.
- Hey, thank you, Bia.Copy !req
203. Should the receipt be
in your name or in Ricardo's?Copy !req
204. I won't need one.Copy !req
205. - Thanks for the coffee.
- Don't mention it.Copy !req
206. Need anything,
let me know.Copy !req
207. I always found it strange
because this neighborhoodCopy !req
208. never felt
especially dangerous.Copy !req
209. Camera!Copy !req
210. This was always
my favorite house on the street.Copy !req
211. The only one with a short.
meter-high fence;Copy !req
212. the large windows have no barsCopy !req
213. A phenomenon.Copy !req
214. When we shot Neighboring SoundsCopy !req
215. the owner told me that,
due to the short fenceCopy !req
216. and the unprotected windows
in the front yard,Copy !req
217. no one had ever tried
to break into her house.Copy !req
218. My name is
Clodoaldo Pereira dos Anjos.Copy !req
219. Nice to meet you.
Your name?Copy !req
220. Sometimes people ask if what
they see in the filmsCopy !req
221. is production design.Copy !req
222. No, it's no production design.Copy !req
223. Or, sometimes I'd lie.Copy !req
224. Of course it's production design…Copy !req
225. And people would be impressed.Copy !req
226. This other house behind the wall.Copy !req
227. A friend lived here in the '80s.Copy !req
228. When I looked at footage of our home
to work on this montage,Copy !req
229. I saw there's the
apartment of our normal lifeCopy !req
230. and there's the cinema apartment.Copy !req
231. Yours, all yoursCopy !req
232. Mine, all mineCopy !req
233. Together, tonightCopy !req
234. I want to give you all my loveCopy !req
235. I love downtown Recife.Copy !req
236. I love downtown Recife.Copy !req
237. Twice, I cut that line,
then put it back in,Copy !req
238. thinking it was redundant to say.Copy !req
239. Then I thought you should say it
when you like someone.Copy !req
240. A city's central area may remind you
of many other cities.Copy !req
241. Katia Mesel.Copy !req
242. WHO HAD MARIELLE KILLED?Copy !req
243. My relationship with downtown Recife
was forged through its cinemas.Copy !req
244. Between the ages of 13 and 25,
more or less,Copy !req
245. I'd go downtown several times a week
to watch movies.Copy !req
246. Deep Throat Ⅱ…Copy !req
247. It's the sequel…Copy !req
248. Downtown is a place part of the city
seems to have forgotten.Copy !req
249. Like someone who was left
with no further explanation.Copy !req
250. Many of the young
have never been downtown,Copy !req
251. not even during Carnaval.Copy !req
252. What can't be denied is that
the money has gone elsewhere.Copy !req
253. I once heard someone say
the problem with downtown...Copy !req
254. Is there's no air conditioning.Copy !req
255. I have a sentimental map
of downtown Recife,Copy !req
256. split by the filthy Capibaribe riverCopy !req
257. with streets and cinemas as landmarks.Copy !req
258. The Art Palácio and the Trianon
were on Sun StreetCopy !req
259. right in front of their main rival
across the river—Copy !req
260. the São Luiz,Copy !req
261. on Dawn Street.Copy !req
262. Facing each other,Copy !req
263. all three of them staring,Copy !req
264. in a stand-offCopy !req
265. in the sunCopy !req
266. and at dawn.Copy !req
267. "A STAR IS BORN"Copy !req
268. Most of these cinemas
are now gone, of course.Copy !req
269. This is Joaquim Nabuco,Copy !req
270. the abolitionist.Copy !req
271. This little map covers an area
with street names such as "Longing",Copy !req
272. "Hospice" and "Nymphs".Copy !req
273. "Hunger Alley",
and "Photographers' Alley"Copy !req
274. Livro Sete, a great bookstore,
no longer exists either.Copy !req
275. "Freedom for the customer to choose a book."Copy !req
276. It is now a church.Copy !req
277. But downtown does
its own thing as well.Copy !req
278. It's like…Copy !req
279. "If you don't like me, Fuck You."Copy !req
280. There are those who believe that
downtown Recife is dead.Copy !req
281. Recifians say they're the 2nd best
Carnival in Brazil, 3rd in the world.Copy !req
282. According to Dr. H. Martins,
the order is: Nice, Rio, Recife.Copy !req
283. Is it? See for yourselves...Copy !req
284. On the Boa Vista bridge we can see
the impressive, excited crowd.Copy !req
285. A friend once wrote that
downtown Recife smells like tide,Copy !req
286. fruits,Copy !req
287. and piss.Copy !req
288. Jomard Muniz de Britto
& Antônio Cadengue.Copy !req
289. Downtown probably smelled like that
even when money was here.Copy !req
290. Cláudio Assis
& Matheus Nachtergaele.Copy !req
291. I found these imagesCopy !req
292. of myself in the lobby of the
Art Palácio cinema on the week it closed.Copy !req
293. July 1992.Copy !req
294. Almost 30 years later, I was sent
these photographs of the same place...Copy !req
295. But taken a few days before
the cinema opened its doors in 1940.Copy !req
296. At least 30 million people came
through this place in over 50 years.Copy !req
297. I followed the last two years
of the Art PalácioCopy !req
298. shooting photos and video
with a VHS camera.Copy !req
299. I was a student at the time.Copy !req
300. - Got two cruzeiros?
- No.Copy !req
301. Got a thousand cruzeiros?Copy !req
302. It was like being on a ship
as it's being prepped to be sunk.Copy !req
303. Sometimes, it seemed like a factory
full of old machines.Copy !req
304. It was at the Art Palácio
where I met Alexandre Moura.Copy !req
305. Mr. Alexandre.Copy !req
306. The projection room was hot
and had no air conditioning.Copy !req
307. Alexandre would take his
shirt off to work and sit or lie on the floor,Copy !req
308. where it was cooler
than sitting in the chair.Copy !req
309. CinemaScope.Copy !req
310. Let some air in.
Or else we'll die.Copy !req
311. I showed The Godfather here.Copy !req
312. I worked with this Godfather…Copy !req
313. It showed here for four months.Copy !req
314. Wasn't it on TV the other day?
The Godfather?Copy !req
315. But my kids...Copy !req
316. I got so fed up with that music
that I couldn't stand it any more.Copy !req
317. On the last day we showed
The Godfather, I couldn't take it,Copy !req
318. I was so anxious
to stop showing that film.Copy !req
319. So I went over to the Trianon.Copy !req
320. And I was a young man back then!Copy !req
321. I went over to the TrianonCopy !req
322. and the guy from the Trianon came over
here to finish the filmCopy !req
323. 'cause I just couldn't do it.Copy !req
324. You spend four months
watching the same film...Copy !req
325. Mr. Alexandre told me how he dealt
with censorship under the dictatorship.Copy !req
326. So two guys arrived.Copy !req
327. "This film's impounded, y'hear?"Copy !req
328. They opened up
the projection room…Copy !req
329. - Who are you, sir?
- Federal Police!Copy !req
330. "The film's impounded!"Copy !req
331. Fine with me.
I'll leave early!Copy !req
332. I once had a dreamCopy !req
333. in which Mr. Alexandre opened
the hatch on the projectorCopy !req
334. and the light made him disappear.
As in…Copy !req
335. Just like in Terminator 2Copy !req
336. which he showed
in sold out screenings.Copy !req
337. Antônio!Copy !req
338. No one's here.Copy !req
339. Antônio!Copy !req
340. Antônio!Copy !req
341. After all these years,
I never got permissionCopy !req
342. to see the ruins of the Art Palácio.Copy !req
343. There's a good side to that.Copy !req
344. When I remember this cinema,
I also remember Alexandre,Copy !req
345. who passed away in 2003.Copy !req
346. Did I ever tell you
what that window's for?Copy !req
347. - What it was for?
- No.Copy !req
348. For the narrator.Copy !req
349. When it was an art film...Copy !req
350. Art films, there'd be a narrator
there from the radio.Copy !req
351. You know, one of those narrators
who are good speakers?Copy !req
352. And when would he speak?Copy !req
353. While the film was being shown.Copy !req
354. The film would be shown and he'd
talk during the session, right?Copy !req
355. - What, into the cinema?
- Into the cinema.Copy !req
356. Yeah, it wasn't for the radio,
it was into the cinema.Copy !req
357. For the viewers.Copy !req
358. Now those films...
Art films, right?Copy !req
359. You'd only get people who…Copy !req
360. - What exactly would he say?
- About...Copy !req
361. He'd talk about the film, right?Copy !req
362. In the film, this
and that happened, you see?Copy !req
363. Those films about kings.
Really out there stuff.Copy !req
364. - That's so strange, Mr. Alexandre.
- Isn't it?Copy !req
365. When they announced the Art Palácio
and its neighbor the Trianon were closing,Copy !req
366. I asked Mr. Alexandre if he was coming
to work on closing night.Copy !req
367. It'll be a Tuesday, my shift.Copy !req
368. So I'll be the one closing up.Copy !req
369. I'll lock up the cinema
with a key of tears.Copy !req
370. That's right.Copy !req
371. You're crying…Copy !req
372. I'll lock up the cinema
with a key of tears.Copy !req
373. Mr. Alexandre once told me about
a German manager at the Art PalácioCopy !req
374. during the war.Copy !req
375. Making this film,
I finally put the pieces together.Copy !req
376. Pretty good story.Copy !req
377. The Art Palácio was planned
to be an UFA cinema,Copy !req
378. the major German studio run by
Goebbels and Hitler in the '30s.Copy !req
379. The Germans saw the possibility
of expanding Nazi propagandaCopy !req
380. in two strategic cities in Brazil:Copy !req
381. São Paulo and Recife.Copy !req
382. During the Getúlio Vargas presidency,
who held sympathies for the Nazi regime.Copy !req
383. Recife was visited 67 times,Copy !req
384. between 1930 and 1937,Copy !req
385. by the German machines
Graf Zeppelin and Hindenburg.Copy !req
386. São Paulo and Recife, each with
its own UFA Art PalácioCopy !req
387. designed by the architect Rino Levi
who was, by the way, Jewish.Copy !req
388. The office used to be here.Copy !req
389. - Isn't it there?
- No, it's not...Copy !req
390. The headquarters.Copy !req
391. Alexandre would talk about
the German manager at the time:Copy !req
392. Gunther, if I'm not mistaken.Copy !req
393. The trapdoor leads to the balcony, right?Copy !req
394. During wartime the German guy
would hide under there too.Copy !req
395. Any trouble, he'd hideCopy !req
396. and everything
would be quiet again.Copy !req
397. With the war, plans for Recife's
Art Palácio at the Trianon buildingCopy !req
398. being a UFA project were abandoned.Copy !req
399. The building was taken over by
distributor and exhibitor Art FilmsCopy !req
400. founded by Italian
immigrant Ugo Sorrentino,Copy !req
401. who had been since 1931Copy !req
402. the exclusive distributor
for UFA in Brazil.Copy !req
403. And continued to be until 1941.Copy !req
404. Months later, Brazil finally cut
commercial ties to Hitler's Germany.Copy !req
405. These buildings came up in the '40sCopy !req
406. and the money was here.Copy !req
407. Recife's places of power
were carefully planned.Copy !req
408. In the '70s, it started to
lose its prestige,Copy !req
409. not unlike the cinemas.Copy !req
410. Seems like parking space
was an issue as well.Copy !req
411. Little by little, the money left
for the South Side of Recife.Copy !req
412. Over there in Boa Viagem.Copy !req
413. Same thing took place
in so many citiesCopy !req
414. around the world.Copy !req
415. Printer cartridges and toner,Copy !req
416. an English course,Copy !req
417. an office,Copy !req
418. some kind of prosthetics.Copy !req
419. You can almost hear the intrigue:Copy !req
420. American and Nazi spies,Copy !req
421. Brazilians in favor and against
the country's neutrality in relation to the war.Copy !req
422. Everyone plottingCopy !req
423. Carnaval.Copy !req
424. One can also imagine this buildingCopy !req
425. becoming good affordable housing
for many people.Copy !req
426. The US Consulate was hereCopy !req
427. during the war.Copy !req
428. Another US Consulate of sorts
was in this buildingCopy !req
429. not too far away.Copy !req
430. Every Hollywood studio had offices
in this five-story building:Copy !req
431. Metro, Universal,
Columbia Pictures, Fox,Copy !req
432. Paramount, Warner,
United Artists, Disney.Copy !req
433. There was even room for foreign companies
like Atlántida, Cinédia, and Embrafilme.Copy !req
434. At least that's how Brazilian
distributors in this building felt.Copy !req
435. Scene 9, take 2!Copy !req
436. This footage from
the short film EisensteinCopy !req
437. is the last surviving images
of the print distribution centerCopy !req
438. that supplied cinemas in
Brazil's North and Northeast.Copy !req
439. Fiction films are
the best documentaries.Copy !req
440. With the arrival of the internet,
the studio offices closed in the 2000sCopy !req
441. and film distribution was
centralized in São Paulo,Copy !req
442. about 2000 kilometers away.Copy !req
443. The other day I dropped by the
Alfredo Fernandes buildingCopy !req
444. and the new administrator informed me,
very authoritatively,Copy !req
445. that there had never been any
film companies in that building.Copy !req
446. These companies only occupied
the building for over 70 years.Copy !req
447. Luckily I kept some
mementos from the distributorsCopy !req
448. at the Alfredo Fernandes building.Copy !req
449. Right at the back of the building
was its trash.Copy !req
450. Right over thereCopy !req
451. was Hollywood's trashCopy !req
452. High quality American posters, trailers,
photographs, lobby cards, pressbooks…Copy !req
453. Every week, hundreds of
such items were thrown out.Copy !req
454. A well-known secret.Copy !req
455. A lot of it was resold
by Paulo BarbosaCopy !req
456. on the sidewalk in front of the Trianon.Copy !req
457. These images are over 30 years old.Copy !req
458. The cinemas went extinct, didn't they?Copy !req
459. The poor ones with
no money sometimes buy…Copy !req
460. sometimes I'll
give them printed materials.Copy !req
461. If I got duplicates, I'll give it away.
Give 'em materials.Copy !req
462. A lot of 'em don't have any money,
they just look.Copy !req
463. Paulo Barbosa sold film memorabilia
but he was also a fireman.Copy !req
464. And he was one of the heroes
who saved Recife from a tragedy.Copy !req
465. On May 12th 1985Copy !req
466. he untied the mooring ropes
of a burning tanker at the port.Copy !req
467. So many stories.Copy !req
468. "CHRISTMAS BONUS: FIVE DEAD"Copy !req
469. Mrs. Ricardo Pessoa de Queiroz.Copy !req
470. Mrs. Julio.Copy !req
471. Mrs. Antiógenes.Copy !req
472. This paper from 1977.Copy !req
473. King Kong with Fay Wray, 1933Copy !req
474. King Kong Escapes at the Trianon.Copy !req
475. São Luiz had Dino de Laurentiis' King Kong.Copy !req
476. Down there we've got
The Man from Hong KongCopy !req
477. and Costinha e o King Mong.Copy !req
478. The 1977 King Kong fever.Copy !req
479. And Sonia at the Boa Vista
in Dona Flor, third week.Copy !req
480. Around 150 thousand people saw Sonia
in Dona Flor at the Moderno alone.Copy !req
481. I ended up shooting a scene
with Sonia BragaCopy !req
482. where the Moderno used to be.Copy !req
483. For the film we made
together Aquarius.Copy !req
484. There used to be windows with posters
on this wall of the Moderno cinemaCopy !req
485. but they've been filled in.Copy !req
486. Each window had the poster
of a film, and two photos.Copy !req
487. It was the first image
you ever saw of a film.Copy !req
488. Like a gallery exhibit
but right on the street.Copy !req
489. That's how I found out—
I was just a kid—Copy !req
490. that they had made another
Star Wars movieCopy !req
491. called The Empire Strikes Back.Copy !req
492. Vadinho!Copy !req
493. Sonia BragaCopy !req
494. Some years ago,Copy !req
495. I gained access to the
Moderno projection booth.Copy !req
496. Now here is something
quite analog.Copy !req
497. Manual.Copy !req
498. Cinema marquees.Copy !req
499. When digitizing these images,Copy !req
500. something strange happened.Copy !req
501. The image of this marquee,
archived for so long,Copy !req
502. went through a digital mutation.Copy !req
503. It was like the Moderno marquee
was trying to tell me something.Copy !req
504. A tree covers part of the marqueeCopy !req
505. and it's like the film
becomes another film.Copy !req
506. THE SILENCE...Copy !req
507. Sometimes...Copy !req
508. Marquees read like
secret messages to people.Copy !req
509. Who's this Frankie?Copy !req
510. Who's this Johnny?Copy !req
511. My Name is Nobody.Copy !req
512. My Name is Earthquake…Copy !req
513. The city was marked all over
by fantasy words.Copy !req
514. "See Barbarella doing her thing".Copy !req
515. "You'll scream in terror
and jump out of your seatCopy !req
516. when you see Jaws!"Copy !req
517. Messages spelt carefully
and craftily.Copy !req
518. "NO ZIPPER"Copy !req
519. I like this series of photosCopy !req
520. taken on the Duarte Coelho bridge
in different decades,Copy !req
521. always with the São Luiz Cinema
in the background.Copy !req
522. Johnny Guitar - this photo's from '57.Copy !req
523. Pink Floyd: The Wall and The Entity—Copy !req
524. March '83.Copy !req
525. This one with O Quatrilho,Copy !req
526. in the '90s.Copy !req
527. Suzana Amaral
& Marcélia Cartaxo.Copy !req
528. Arnold Schwarzenegger.Copy !req
529. ChuckCopy !req
530. Norris.Copy !req
531. I shot this in Super 8Copy !req
532. and watching these images
makes me dizzy.Copy !req
533. How could someone go up there,
on that marquee,Copy !req
534. no safety procedures,Copy !req
535. 10 meters up?Copy !req
536. Crazy.Copy !req
537. Ivan Cordeiro.Copy !req
538. The Living Daylights.Copy !req
539. I saw it at the São Luiz.Copy !req
540. Fernando Spencer.Copy !req
541. Marquees are timekeepers.Copy !req
542. This photo from Jornal do Brasil,
taken in Rio de Janeiro,Copy !req
543. dates to when the military passed the
Institutional Act 5, tightening the regime.Copy !req
544. John Boorman's Point Blank
showing at the PathéCopy !req
545. and shit going down
on Cinelandia.Copy !req
546. Movie marquees, in a way,
commented on life in the real world.Copy !req
547. It was a loss to cities, I think.Copy !req
548. Was it a coincidence that the Veneza's
marquee read Knock OffCopy !req
549. the night it closed?Copy !req
550. Was that a coincidence?Copy !req
551. Cinemas that no longer exist
showing films about ghosts.Copy !req
552. December, 1970.Copy !req
553. The grand opening of
the Veneza Cinema, on Hospício St.Copy !req
554. The opening night film:
Universal's AirportCopy !req
555. in 70mm.Copy !req
556. Some days earlier,Copy !req
557. a special screening of
Fox's Tora! Tora! Tora!Copy !req
558. was offered to the Armed Forces.Copy !req
559. Military band.Copy !req
560. Military government.Copy !req
561. The owner, Luiz Severiano Ribeiro Junior,Copy !req
562. is seen here greeting the
governor of Pernambuco, Nilo CoelhoCopy !req
563. and Mrs. Nilo Coelho.Copy !req
564. Her name is actually Maria Tereza
Coimbra de Almeida Brennand.Copy !req
565. The Severiano Ribeiro company
was the largest film exhibitor in BrazilCopy !req
566. during the 20th century.Copy !req
567. At the Veneza,
they spared no expense.Copy !req
568. It's kind of sad to become
attached to a product.Copy !req
569. The problem lies in the fact
that you spent years of your lifeCopy !req
570. going to this cinema,Copy !req
571. so the relationship gets
emotional and confusing.Copy !req
572. It was at the Veneza where I began
to pay attention to sound in films.Copy !req
573. To these days, people talk about
the experience of image and soundCopy !req
574. for Milos Forman's Hair
in 70mm at the Veneza.Copy !req
575. I wasn't old enough to watch it.Copy !req
576. The military government, on its last legs,
rated it 18 and over.Copy !req
577. They found Hair subversive
and anti-military.Copy !req
578. The film became a phenomenon in Recife,
more so than in any other city in Brazil.Copy !req
579. Over 200 thousand people saw Hair
at the Veneza in almost six months.Copy !req
580. The industry sets up the
infrastructure for distributionCopy !req
581. then throws it all out.Copy !req
582. They were building a mini
shopping mall inside the cinemaCopy !req
583. without exactly
tearing the whole cinema down.Copy !req
584. This thing took root
inside the VenezaCopy !req
585. like an alien organism
and the cinema became its host.Copy !req
586. The city changes
every year, no doubt.Copy !req
587. With a lot of demolition.Copy !req
588. But I've never seen a mutation
as strange as this one inside the Veneza.Copy !req
589. Seen from a distance,
the Veneza is this building here.Copy !req
590. With these pillars.Copy !req
591. Here was the Marist School,Copy !req
592. a traditional school that closed down.Copy !req
593. It's also turning into a shopping mall—Copy !req
594. The Marist Shopping Mall—Copy !req
595. Thus named in memory
of the school that closed.Copy !req
596. A bit like the cinemas.Copy !req
597. These images come from
André Antônio's The Cult,Copy !req
598. a film that takes place
in a futuristic version of Recife.Copy !req
599. These are the only surviving
images of that school.Copy !req
600. Futuristic films
are also documentaries.Copy !req
601. the Polytheama Cinema.Copy !req
602. Some 50 million people have been
through the São Luiz in 70 years.Copy !req
603. I don't know anywhere in Recife
as unanimous as this.Copy !req
604. Amin Stepple.Copy !req
605. On the inside, the São Luiz
stimulates the imagination.Copy !req
606. But as you leave,
it throws you back onto the street.Copy !req
607. Ariano e Zélia.Copy !req
608. Cinemas can be places of kindness.Copy !req
609. WE'LL BE TOGETHER SOONCopy !req
610. I've always heard people referring to
Recife's São Luiz Cinema as a temple.Copy !req
611. Part of local cinephilia
uses catholic imageryCopy !req
612. when talking about the São Luiz.Copy !req
613. I've heard things like:Copy !req
614. "To see a Glauber or a Hitchcock
one should kneel in praise".Copy !req
615. The cinema as a church.Copy !req
616. Maybe it's the
fleur-de-lis tainted glass.Copy !req
617. Very famous.Copy !req
618. It's ironic that the São Luiz and the
Duarte Coelho building above it.Copy !req
619. were built where there
used to be a church.Copy !req
620. The Chapel of the
Holy Trinity of the English.Copy !req
621. British money in Recife
was no longer as importantCopy !req
622. as it had been in the 19th century,Copy !req
623. especially after the war.Copy !req
624. They demolished this
Anglican Church from 1838Copy !req
625. to build a cinema in 1952.Copy !req
626. The decoration celebrates
French king Louis IX.Copy !req
627. It's all set up like a tent
during the Crusades,Copy !req
628. with 16 shields on the walls.Copy !req
629. The fleur-de-lis is everywhere.Copy !req
630. And on the tainted glass.Copy !req
631. Luís Severiano Ribeiro,
the patriarch,Copy !req
632. also spared no expense
on the São Luiz.Copy !req
633. I witnessed two cinemas
that stopped being cinemasCopy !req
634. and became evangelical churches
at the end of the '80s.Copy !req
635. The Eldorado, in Afogados,
and the Albatroz, in Casa Amarela.Copy !req
636. The transition took a few weeks,Copy !req
637. for the cinemas remained unchanged.Copy !req
638. Seats, décor—
even the screens remained.Copy !req
639. Dead cinemasCopy !req
640. but now used as temples
of the Universal Church.Copy !req
641. When I revisited these images,
I saw they might reveal the beginningCopy !req
642. of profound changes in
Brazil's relationship to religion.Copy !req
643. Catholics losing groundCopy !req
644. and evangelicals gaining power.Copy !req
645. They bought cinemas.Copy !req
646. When I was a kid, I saw,
on this exact screen at the Albatroz,Copy !req
647. a Passion of the Christ film
starring Fernanda Montenegro.Copy !req
648. An Easter week movie.Copy !req
649. There are different ways now of
stepping out of the trance,Copy !req
650. of leaving the temple,Copy !req
651. or exiting the movie.Copy !req
652. Miguel and Bruno.Copy !req
653. The São Luiz is a public cinemaCopy !req
654. which no longer has the logic
of a commercial screen.Copy !req
655. Nor should it.Copy !req
656. A cinema like this
helps build characterCopy !req
657. Geraldo Pinho.Copy !req
658. Gustavo Coimbra.Copy !req
659. Films have a natural tendency
towards melodrama.Copy !req
660. This is often in the image itself.Copy !req
661. But also makes sense to
embrace the melodrama.Copy !req
662. Like listening to
Nelson Ferreira's Evocação.Copy !req
663. I found in one of the rooms
at the São Luiz,Copy !req
664. one of the projectors
from the old Trianon Cinema,Copy !req
665. the Art Palacio's next door neighbor.Copy !req
666. Kept as a donation.Copy !req
667. And scrap metal.Copy !req
668. The Trianon building.Copy !req
669. On the other side of the river,Copy !req
670. Where Mr. Alexandre used to work.Copy !req
671. Good evening.Copy !req
672. Good evening.Copy !req
673. - How are you?
- I'm fine.Copy !req
674. You got the address?Copy !req
675. These three stops here—Copy !req
676. are we picking someone up
or did you just put themCopy !req
677. to trick the app
and drive around?Copy !req
678. To trick the app
and drive around.Copy !req
679. Sometimes, I like to
go home, and to unwindCopy !req
680. and drive around in an Uber.Copy !req
681. But if I just put the address,
it chooses a routeCopy !req
682. that's boring and dull.Copy !req
683. So, to get around that—
I once hadCopy !req
684. an argument with a driverCopy !req
685. who wished to follow the route
the app gave him,Copy !req
686. and I asked him to go
another way, and, well…Copy !req
687. Want me to turn off the music?Copy !req
688. No, you can leave it on.Copy !req
689. Who is that?Copy !req
690. Herb Albert.Copy !req
691. This guy's helped me
get through a lot.Copy !req
692. How is he helping you?Copy !req
693. He's an inspiration.
I'm learning to play the trumpet.Copy !req
694. So I listen to him a lot.Copy !req
695. Because he's good.Copy !req
696. - Do you play anywhere?
- I play in a frevo orchestra.Copy !req
697. Carnaval music.Copy !req
698. It's got that upbeat energy I like.Copy !req
699. Cool.Copy !req
700. And what do you work with?Copy !req
701. I work in films.Copy !req
702. Films?Copy !req
703. But, do you work in a cinema
or do you make movies?Copy !req
704. I work with a movie theater.Copy !req
705. but I make films, I…Copy !req
706. I write and direct films.Copy !req
707. That's cool!Copy !req
708. You an actor?
I want a picture later, all right?Copy !req
709. - You'll take my picture?
- I want a picture with you, all right?Copy !req
710. I don't get artists
in my car everyday, do I?Copy !req
711. I'll take one of you as well.Copy !req
712. Have you ever done a telenovela?Copy !req
713. No, I've never done a novela.Copy !req
714. I bet you know lots
of famous people, right?Copy !req
715. I know some famous people, yeah.Copy !req
716. Movies are great.Copy !req
717. The other day I found out
I have a superpower.Copy !req
718. - You have what?
- A superpower.Copy !req
719. You have a superpower?Copy !req
720. - Yeah.
- Yeah?Copy !req
721. The power to turn invisible.Copy !req
722. You turn invisible?Copy !req
723. Yeah, but not, like, disappear...Copy !req
724. tele-transportation, jump
somewhere else, y'know?Copy !req
725. But, like...Copy !req
726. I turn invisible,
but in the same spot I am.Copy !req
727. Then, when I want to,
I reappear.Copy !req
728. Get it?Copy !req
729. So...Copy !req
730. So do you…Copy !req
731. Do you turn invisible at will?Copy !req
732. Or do you suddently turn invisible
in the middle of a conversation?Copy !req
733. Yeah, sometimes I disappear
by accident as well.Copy !req
734. But...Copy !req
735. I try to plan the moments
I turn invisibleCopy !req
736. and that I reappear, got it?Copy !req
737. You are there, aren't you?Copy !req
738. Right here, right here!Copy !req
739. Is the music too loud?
Want me to turn it down?Copy !req