BARRAVENTO is an exceptionally beautiful work, shot in the dramatically filtered, black-and-white photography associated with Eisenstein’s »Que Viva Mexico! » and Flaherty’s »Moana. » In its use of dance and song within – and as comment on – the narrative, it parallels a number of films by Rocha’s associates in Brazil’s CinemaMNovo movement.
Even the fights are choreographed as if they were ballets. It’s also a far more tidy, far less flamboyant work than Rocha’s later films, including »Antonio das Mortes » (1968).These are so lavish in their use of legend, left-wing politics and obscure mysticism that they tend to be more popular at film festivals than with ordinary audiences.
He studied Law. He also directed theatre pieces, wrote movie criticisms and took part in the creation and development of the ‘cinema novo’ movement in Rio de Janeiro, Brazil, becoming its theoretical leader and first embassador in Europe. After « Barravento (1962) », a trilogy of films and « Antonio das Mortes (1969) » he won various international prizes. As he symbolized the feelings of the ideology of the May of 1968, he became very popular in Europe and America. But when he started to film in Africa and Spain his followers were distracted and this marked the beginning of the decline of his fame. Thus, he only made a couple of films of minor interest later on. He died in 1981.