“The movie shows a Sinner-Christ, performed by Jece Valadão; a Black-Christ, performed by Antônio Pitanga; shows the Christ that is the portuguese conqueror, Dom Sebastião, performed by Tarcísio Meira and show the Ogum-Warrior Christ of Lampião, performed by Geraldo Del Rey. That is, the four Knights of the Apocalypse that resurrect the Christ of the Third World, recounting the myth through the four evangelists: Matthew, “Marcos”, “Lucas” and John, whose identity is revealed in the film almost like it was a Third Testament. And the film assumes a prophetic tone, really biblical and religious.” Glauber Rocha
A personal vision of contemporary Brazil and its evolution, with a number of archetypes which recall some of Glauber Rocha’s previous films : the Indian, the Colonizer, the Nordeste man, the Worker, the Amazon, the Bourgeois and a black Christ bringing new revolutionary hope for the Third World.
Review from Sense of Cinema
A Idade da Terra, Rocha’s final film and most stylistically ambitious (35 mm ‘Scope) as well as his most costliest, collides all of his tendencies, and seems to be, almost by design, his most divisive work. A film in which the intensity is unfaltering – in this sense it seems clearly structured, though some have said, perhaps jokingly, that the reels are interchangeable – A Idade da Terra comprises a series of lengthy takes, beginning with the sun dawning over the Alvotafa Palace (home of the Brazilian president), and ending in a crowded parade where all the characters have disappeared into. In between, there’s the Anti-Christ, Brahms (rightly compared to Falstaff by Sylvie Pierre), an American imperialist and destroyer of nature, and four Christs (indigenous, black, military, and warrior) – here a condensed panorama of all the characters in Rocha’s films. Each combats Brahms in his own way, mostly conveyed through speech since their actions are rarely foregrounded into the story. A Idade da Terra, Rocha said, was in part an homage to the style of films from the Boca do Lixo, an experimental film movement happening in parallel to the Cinema Novo. The Lixo filmmakers were directly inspired by José Mojica Marins, the horror film director, who Glauber also admired. In my opinion, not much has been made of the resemblance between Marins’ visualisation of hell in Awakening of the Beast (1970) – itself a stagy allegory on Catholicism from the perspective of four different characters – and Rocha’s own feverish sets in A Idade da Terra. Rocha’s career seemed to encompass all aspects of Brazilian film and culture, major and minor; even in his last effort, it was the little guys that he connected to. In the grander scheme of things, A Idade da Terra is the monumental culmination of a career that finds in the wake of all its desires this thing called the Earth. And in it, Glauber Rocha belongs to all of us.
Subtitles:English, Portuguese, Spanish, French .idx