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Carlos Diegues

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Carlos Diegues
Born (1940-05-19) 19 May 1940 (age 84)
Maceió, Alagoas, Brazil
Occupation(s)Film director, screenwriter
Years active1959–present
Spouses
  • <div style="display:inline-block;line-height:normal;Expression error: Unexpected < operator">Nara Leão
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(m. 1967⁠–⁠1977)​
  • <div style="display:inline-block;line-height:normal;Expression error: Unexpected < operator">Renata Almeida Magalhães
    Expression error: Unexpected < operator <div style="display:inline-block;Expression error: Unexpected < operator">​(m. 1981)​

    • Carlos Diegues, also known as Cacá Diegues (born May 19, 1940), is a Brazilian film director.[1] He was born in Maceió, Alagoas, and is best known as a member of the Cinema Novo movement. He is popularly known for his unconventional, yet intriguing film techniques[according to whom?] among other film producers of the Cinema Novo movement. Diegues is also widely known for his dynamic use visuals, ideas, plots, themes, and other cinematic techniques. He incorporated many musical acts in his film as he favored musical pieces to be complementary of his ideas. Diegues remains very popular and is regarded as one of the most cinematic producers of his generation.[2] Of the Cinema Novo directors, he would go on to produce films, plays, musicals and other forms of entertainment in Brazil.

    Diegues' contributions to Brazilian cinema developed the film industry. He would pioneer expensive film projects that domestic filmmakers had ever seen. Films such as Bye Bye Brazil were two million dollar projects and later on films such as God is Brazilian would be over 10 million dollars. This was a new era in Brazil as domestic directors had yet to produce any films with that kind of financial support.[3] He admits to using Brazilians in his films as much as he can. Diegues would use extras, film technicians, painters, sculptors and other essential personnel of Brazilian backgrounds even if they were inexperienced.[3] Diegues attempted to consistently represent the underrepresented people of Brazil in his films. He suggests that history is written by the winners and the afro-Brazilian communities were not among those who were given a chance to write their own history.[3] He also proposed the idea that up until this movement, cinema in Brazil only provided the white Brazilian experience despite the growing masses of black Brazilians all over the country.[3] He is known for distinguished publications that uplift the Afro-Brazilian spirit and bodies.

    In 2018, Diegues was elected to the Brazilian Academy of Letters.[4]

    Personal life[edit]

    Carlos Diegues attended the Ponificia Universidade Católica in Rio de Janeiro. In 1959 he began his legal studies at the university. A university engaged with political affairs, Diegeus emerged himself in political activism through the Juventude Universitária Católica (Catholic Youth Movement) and the Centros Populares de Cultura (Popular Cultural Centers) (CPC). As a left leaning student, he pursued filmmaking as he applied his deep understand of social criticism in his works. or CPCs, both originating in leftist student politics. In the CPCs Diegues started his career as a filmmaker.[5]

    Cinema Novo

    Diegeus later went on to become an integral participant of the Cinco Vezes Favela and produced the episode Escola de Samba: Alegría de vivir in 1962. Doing so, he criticized the Carnival and suggested workers should unionize and demand workers rights. His work painted a bleak picture of what was the reality. Depicting landlords and leaders in charge as figures who upheld an inequitable world. His film sparked mixed emotions, but most importantly, it gave the working masses hope for change. This was the beginning of an era in film known as Cinema Novo. In the 60s the films associated with Cinema Novo explicitly talked about the unfair treatment of people under the current status quo. The leftist ideas by filmmakers like Diegues and other important figures would allow the Cinema Novo to flourish.[6]

    As the dictatorship reached full force in the late 1960s the CPC could no longer operate as regularly for the members. As a result, Diegues and other filmmakers were forced to redirect the paths of their careers. In his earliest works Diegues created Joana Francesa by 1975, when the dictatorship repressed and censored most of the media and entertainment industries. This film alluded to the ideas of inequality and injustice but it also garnered criticism by the left as they suggested it was not as intricate or heavily influenced by the social commentary Diegues had used before.[5] After the regime's collapse Diegues returned to a more explicit approach he was once heavily praised for, however, he still produced films during the repression that garnered international attention such as Bye Bye Brazil.

    Filmography[edit]

    Key
    † Indicates a documentary ‡ Indicates a short film
    List of films directed by Carlos Diegues
    Year Original title English release title(s) Language(s) Notes
    1960 Fuga ‡
    1960 Brasília ‡ Portuguese
    1961 Domingo ‡ Portuguese
    1962 Escola de Samba Alegria de Viver ‡ Portuguese Segment of Cinco Vezes Favela (1962)
    1963 Ganga Zumba Portuguese
    1965 A Oitava Bienal ‡ Portuguese
    1966 A Grande Cidade The Big City Portuguese Also known as A Grande Cidade ou As Aventuras e Desventuras de Luzia e Seus 3 Amigos Chegados de Longe.
    1967 Oito Universitários ‡ Portuguese Co-directed with David Neves.
    1970 Os Herdeiros The Heirs / The Inheritors Portuguese
    1971 Receita de Futebol ‡ Portuguese
    1972 Quando o Carnaval Chegar When Carnival Comes Portuguese
    1973 Joanna Francesa Jeanne the Frenchwoman Portuguese Brazilian-French production.
    1974 Cinema Íris ‡ Portuguese
    1975 Aníbal Machado ‡ Portuguese
    1976 Xica da Silva Xica / Xica da Silva Portuguese
    1978 Chuvas de Verão A Summer Rain / Summer Showers Portuguese
    1980 Bye Bye Brasil Bye Bye Brazil Portuguese
    1984 Quilombo Portuguese
    1985 Batalha da Alimentação ‡ Portuguese
    1986 Batalha do Transporte ‡ Portuguese
    1987 Um Trem para as Estrelas Subway to the Stars Portuguese
    1989 Dias Melhores Virão Better Days Ahead Portuguese
    1990 Exército de Um Homem Só ‡ Portuguese Music video for Engenheiros do Hawaii.
    1994 Veja Esta Canção Rio's Love Song Portuguese
    1996 Tieta do Agreste Tieta of Agreste Portuguese Based on Tieta, by Jorge Amado.
    1999 Orfeu Portuguese Based on Orfeu da Conceição, by Vinicius de Moraes.
    1999 Reveillon 2000 ‡ Portuguese
    2000 Carnaval dos 500 Anos ‡ Portuguese
    2003 Deus É Brasileiro God Is Brazilian Portuguese
    2006 O Maior Amor do Mundo The Greatest Love of All Portuguese
    2006 Nenhum Motivo Explica a Guerra † Portuguese Co-directed with Rafael Dragaud. Documentary on the Grupo Cultural AfroReggae.
    2013 Vinte: RioFilme, 20 Anos de Cinema Brasileiro † Portuguese
    2013 Rio de Fé † Portuguese
    2018 O Grande Circo Místico[7] The Great Mystical Circus Portuguese

    References[edit]

    1. ^ Thompson, Howard (January 21, 1972). "MOVIE REVIEW Brazilian Slaves Flee in 'Ganga Zumba'". The New York Times.
    2. ^ Diegues, Carlos, and Dan Yakir. "The Mind of Cinema Novo." Film Comment 16, no. 5 (1980): 40-44. http://0-www.jstor.org.dewey2.library.denison.edu/stable/43451437.
    3. ^ a b c d DIEGUES, CARLOS, and Coco Fusco. "Choosing Between Legend and History: AN INTERVIEW WITH CARLOS DIEGUES." Cinéaste 15, no. 1 (1986): 12-14. https://www.jstor.org/stable/41686849.
    4. ^ Betim, Felipe (2018-08-31). "ABL frustra expectativas de campanha por Conceição Evaristo e elege Cacá Diegues como novo imortal". EL PAÍS (in Brazilian Portuguese). Retrieved 2018-09-30.
    5. ^ a b Halperlin, Paula. Encyclopedia of Latin American History and Culture. Edited by Erick D. Langer. Charles Scribner's Sons, 2008.
    6. ^ Pontifical Catholic University of Rio de Janeiro
    7. ^ Diegues, Carlos, The Great Mystical Circus, Vincent Cassel, Rafael Lozano, Antonio de la Cruz, retrieved 2018-05-16

    External links[edit]

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