Top Brazilian Films of All Time

The inspiration to make this list came after reading Filipe Furtado’s list of 10 Great Brazilian films.

These words by Filipe ring true with a slight change that UK can be replaced by majority of countries in the world: “Like many important filmographies of the global south, Brazilian cinema doesn’t circulate much in the UK, which can make the prospect of discovering it even more daunting.”

I have only seen 6 of 10 films in Filipe’s list but more telling is that I haven’t even heard of the remaining 4 films or seen any references to them in any film articles or books previously. Beyond these 4 films, there are numerous more worthy Brazilian films to be seen. That being said, I have decided to list my Top 10 knowing full well that this list will change over the years once I am able to see more vital Brazilian films.

Top 10 Brazilian Films

1. Black God, White Devil (1964, Glauber Rocha)
2. Limite (1931, Mario Peixoto)
3. Cabra Marcado para Morrer / Twenty Years Later (1984, Eduardo Coutinho)
4. Vidas Secas / Barren Lives (1963, Nelson Pereira dos Santos)
5. Pixote (1980, Hector Babenco)
6. Terra em Transe / Entranced Earth (1967, Glauber Rocha)
7. Cinema, Aspirins and Vultures (2005, Marcelo Gomes)
8. Neigboring Sounds (2012, Kleber Mendonça Filho)
9. A Febre / The Fever (2019, Maya Da-Rin)
10. Noite Vazia / Men and Women (1964, Walter Hugo Khouri)

Honourable Mentions (10 more films):

Barravento (1962, Glauber Rocha)
The House of Sand (2005, Andrucha Waddington)
O Padre e a Moça / The Priest and the Girl (1965, Joaquim Pedro de Andrade)
Central Station (1998, Walter Salles)
City of God (2002, Fernando Meirelles/Kátia Lund)
Carandiru (2003, Hector Babenco)
The Middle of the World (2003, Vicente Amorim)
Avenida Brasília Formosa (2010, Gabriel Mascaro)
O Pagador de Promessas / The Given Word (1962, Anselmo Duarte)
The Conspirators (1972, Joaquim Pedro de Andrade)

Best Films of 2016

At times, it was hard to think of films in 2016 given the shifting political winds around the world. Thankfully, global cinema was in step with the changes and some films predicted the anger and shift to the right. Naturally, most of these films were only found at various international film festivals, cinematheques and arthouses. Hopefully, some of these titles start getting distribution in 2017 and find a larger audience.

Note: for the sake of an even comparison, only 2016 titles are considered for this list.

Baker’s Dozen of Top 2016 films

1. Take Me Home (Iran, Abbas Kiarostami)

Cinema lost a leading voice when Abbas Kiarostami passed away in 2016. The artistic beauty with which he crafted his films can be found in Take Me Home, a lovely short  film about a soccer ball’s journey. The short is beautiful, packs warm emotions and plays with the concept of reality. A precious final gift from one of cinema’s greatest directors!

2. Aquarius (Brazil/France, Kleber Mendonça Filho)

Even though the film is localized to a Brazilian apartment building, the events echo our current world of rapid development where the past is always in danger of being demolished for a shiny new future.

3. The Student (Russia, Kirill Serebrennikov)

The Student brilliantly portrays the recent changing political sentiment in Europe and USA. The film uses the radicalization of a lonely shy white male to underline that hateful ideas that may seem harmless at first can result in grave consequences if unchecked and allowed to spread.

4. Shin Godzilla (Japan, Hideaki Anno/Shinji Higuchi)

A film of immense beauty and fierce intelligence about creation, evolution, destruction, logistics and problem solving.

5. Nocturama (France/Germany/Belgium, Bertrand Bonello)

A tense razor sharp film that is stripped of any specific ideology but is completely aware of our contemporary world.

6. Nightlife (Slovenia/Republic of Macedonia/Bosnia and Herzegovina, Damjan Kozole)

This Slovenian co-production cleverly uses a single incident to depict how private events can quickly end up becoming public scandals. The film style has shades of the Romanian New Wave.

7. Silence (USA/Mexico/Taiwan, Martin Scorsese)

At its core, this is a film about imposing one's will on others. On a macro-level, this is a clash of civilizations/religions. But this idea of imposing ideas onto another takes place on micro-levels as well, from every day beliefs about sports, politics and even the weather. On a micro-level, these ideas may seem harmless and can be ignored. But this need to impose one's way can take on serious consequences on a macro-level. Throughout history, men (always men, which is why no female leads are in the film) have tried to convert others, to conquer other's soul, minds. Men did this because they believed their way was the only way. So they went about with extreme measures and tortured, killed until the others accepted.

Silence is not an easy film to watch and needs time to digest. But it is one of most significant and relevant films of the year!

8. Neruda (Chile/Argentina/France/Spain/USA, Pablo Larraín)

Creatively uses the poetry of Neruda to create a fictional framework which questions the reality and myth surrounding Neruda’s escape. Infused with humour and a scrumptious touch of noir.

9. Yourself and Yours ( South Korea, Hong Sang-soo)

In the films of Hong Sang-soo, characters open up their feelings and transform when alcohol is present. That point is hammered home in Yourself and Yours where the main character morphs into a completely different person as soon as a fresh pint of beer is served. The end result is a dizzying delightful work!

10. The Ornithologist (Portugal/France/Brazil, João Pedro Rodrigues)

A hypnotic journey which is an innovative mix of a fable and myth that seamlessly shifts through multiple cinematic genres.

11. In the Last Days of the City (Egypt/Germany/UK/UAE, Tamer El Said)
       tied with
      Clash (Egypt/France, Mohamed Diab)

Two completely different Egyptian films set in different eras but the two films end up having a dialogue with each other.

In the Last Days of the City is a poetic love letter to a Cairo that no longer exists. The film consists entirely of footage shot in 2009-10 and there are many scenes which may have seemed harmless back in 2010 but take on a much different meaning after the 2011 Egyptian revolution. In the Last Days of the City shows a time when people could roam the streets of Cairo freely and openly discuss political ideas. The freedom of the camera’s movement in Tamer El Said’s film is in stark contrast to Clash which is set in a confined space in the back of a police van.

Mohamed Diab’s powerful film depicts the division in Egyptian society that came to a boil in 2013. The confined space in Clash creates a powerful immersive experience and mirrors the state of society in 2013 in contrast to In the Last Days of the City.

13. Fences (USA, Denzel Washington)

A film that will always be timely due to the discussions about a racial past and also due to the honest practical conversations about relationships. The dialogues articulate what a relationship means and outlines the every day dollar value associated with decisions that people make. These dialogues won't apply to the 1% but for the 99%.

Honourable mentions (alphabetical order):

Elle (France/Germany/Belgium, Paul Verhoeven)
Hell or High Water (USA, David Mackenzie)
The Human Surge (Argentina/Brazil/Portugal, Eduardo Williams)
It’s Not the Time of My Life (Hungary, Szabolcs Hajdu)
Life after Life (China, Zhang Hanyi)
Mother (Estonia, Kadri Kõusaar)
Old Stone (Canada/China, Johnny Ma)

Best Films of 2013

It was an excellent year for cinema demonstrated by how many worthy films had to be left out of this list and many others that I failed to see because they never got released in my city such as A Touch of Sin, Stray Dogs, Ship of Theseus and Norte, the End of History. The distribution problem for foreign films seems to get worse every year but since these films only make a fraction of the box-office revenue, no one seems to care. As a result, the importance of film festivals and an increasing amount of VOD options cannot be overstated.

One aspect that stood out from some of the best films of 2013 was their mature approach to relationships, especially between parents and children. Like Father, Like Son, Before Midnight and The Past come from three different countries but they all managed to smartly depict the two way impact parents and kids have on each other. The visuals and sound design of many films left a mark, including some that were left out of this list. For example, the sound of Lootera is impressive as is the background score in 12 Years a Slave which gives a cue when the nightmare is over. 12 Years a Slave could have had no dialogue and the score would have still been ample in navigating the emotional state of the characters. In the case of Gravity, the technical aspects are far superior than the story and acting. Gravity was the first film I saw in the IMAX 3D format and that proved to be a very immersive physical experience. It was also the most memorable cinematic experience of the year but Gravity does not feature in this list, emphasizing the strength of this year’s output.

Top Ten Films of 2013 

1. Like Father, Like Son (Japan, Hirokazu Kore-eda) 

A mature film about the two-way relationship parents and kids have on each other. At times devastating but an enriching experience. Hirokazu Kore-eda is certainly a worthy heir to the cinema of Yasujirô Ozu.

2. Neighboring Sounds (2012, Brazil, Kleber Mendonça Filho) 

Rarely do I utter masterpiece after finishing a film but this was the only word that came to mind as the credits rolled. The sound design is remarkable as is the constant sense of dread that lingers over every frame.

3. The Great Beauty (Italy/France, Paolo Sorrentino) 

Just when I think Italian cinema can't match its former glory comes this wonder of cinema. How on earth did Sorrentino make such a film? Is it really him that directed it? It feels like the ghost of Fellini, Antonioni and former Italian masters came on the set, possessed Sorrentino and made him make this film. There are also tiny hints of Terrence Malick and Matteo Garrone as well.

4. Vic + Flo Saw a Bear (Canada, Denis Côté) 

Denis Côté toys with the audience by making a specific genre film under the cover of another genre. I am not going to reveal what the specific genre is because it is worth seeing this film cold without any prior knowledge. Côté clearly alerts the audience what to expect but his alarms are mistaken for humor which is why when the film does eventually reveal its true nature, it jolts the senses.

5. Bastards (France, Claire Denis) 

Shares some elements with L’Intrus but this heads towards neo-noir territory with devastating results. Like the real world, some of the biggest villains don’t appear to be evil on first glance but only show their true color in dark enclosed spaces.

6. Before Midnight (USA, Richard Linklater) 

Before Midnight depicts a perfect way to make a trilogy as the characters grow off-screen and each film allows the audience to catch-up with events in their lives, just like old friends do when meeting after a long gap.

7. Leviathan (2012, USA/France/UK, Lucien Castaing-Taylor, Verena Paravel) 

The fluid style jolts the senses forcing one to experience the world in a new light. The sound and visuals also make this feel like a horror film.

8. The Act of Killing (2012, Denmark/Norway/UK, Joshua Oppenheimer) 

Even though the documentary is rooted in Indonesia, it is universal in depicting how men kill with the aid of media and politicians. The depiction of torture/killing could easily be set in Latin/South America/Africa while the media manipulation applies to most nations. But no individuals will ever admit their crime with such brutal honesty as those in The Act of Killing, making it a living digital document.

9. The Fifth Season (2012, Belgium/Holland/France, Peter Brosens/Jessica Woodworth)  

The two directors earlier work Khadak was infused with color but all color is mostly drained out of The Fifth Season in order to depict a bleak winter like feeling. Such a depiction works because this transmits the desperation and misery that hangs over the village. At times, the film hinges on dark comedy mostly associated with the cinema of Roy Andersson while some of the bar/tavern scenes and apocalyptic dread evokes Béla Tarr.

10. Drinking Buddies (USA, Joe Swanberg)

Relationships are common fodder in American Independent cinema but Joe Swanberg has managed to cut through all the mumblecore and get to the heart of how two people connect with each other. In few short scenes, we can easily assess whether two characters are right for reach other because their body language depicts their true feelings. And like a Hong Sang-soo film, alcohol is always on hand allowing the characters to relax and open up.

15 Honorable Mentions, roughly in order of preference

The Last Shepherd (2012, Italy, Marco Bonfanti) 

A few years ago, the documentary Sweetgrass showed beauty in following a herd of sheep through the mountains. That film was wordless but The Last Shepherd fills in those missing words and elevates that concept by introducing us to the wonderful person that is Renato Zucchelli. Renato decides to change the perspective of young kids who have never seen or touched a sheep. The film follows his journey from the countryside to the city as he brings 700 sheep to Milan’s centre thereby creating a tiny miraculous sight.

The Past (France/Italy, Asghar Farhadi) 

Examines the complicated and messy aftermath of a separation. As the film shows, a separation does not guarantee a better future but instead can lead one down a never-ending hole of misery.

Thou Gild’st the Even (Turkey, Onur Ünlü) 

This gorgeous black and white surrealist love story is unlike any film released in the last few years. It is packed with surrealist images that are seamlessly integrated within the ordinary fabric of town life. As a result, the film's blend of humor and shock results in a darker blend of comedy that most palates have not yet encountered.

Borgman (Holland, Alex van Warmerdam) 

The initial premise appears to be taking a page out of Haneke’s Funny Games but that is a red herring as Borgman builds on Alex van Warmerdam’s previous films, especially The Last Days of Emma Blank. The dark humor style cut across Dutch society can be found in Warmerdam’s previous films but Borgman takes everything to the breaking point.

Drug War (2012, China/Hong Kong, Johnnie To) 

The documentary style throws one off from the usual Johnnie To stylish films. But make no mistake, this is vintage Johnnie To as he dives deep into the world of police and criminals in a way that only he can. The two films that came most to mind while watching Drug War were To’s PTU and Infernal Affairs with regards to the police procedures and surveillance activities.

A Hijacking (2012, Denmark, Tobias Lindholm) 

Just like his previous film R, Tobias Lindholm uses a double perspective to paint a complete picture of events. And he does so without using any violence or even having a hero in the film. The entire film instead focuses on tense hostage negotiations which end up becoming bargaining sessions stretched over weeks and months. 

Aurangzeb (India, Atul Sabharwal) 

Atul Sabharwal’s film smartly fuses the family-political battles from Shyam Benegal’s Kalyug (1981) with the double character element found in Kagemusha and numerous 1970-80’s Indian films. The end result is a film that feels familiar yet is still unique given the contemporary setting in Gurgaon where real estate deals are ruthless.

Frances Ha (2012, USA, Noah Baumbach) 

Noah Baumbach and Greta Gerwig have created a memorable character whose honesty puts her in many foot-in-mouth moments but those awkward moments only add to the film's bittersweet style.

Watermark (Canada, Jennifer Baichwal/Edward Burtynsky) 

Once again, Burtynsky captures beauty in the most unlikely places forcing us to contemplate the consequences of our actions on this planet. The film is an extension of his retrospective that toured Canadian museums a few years ago. Essential viewing!

Saheb Biwi Aur Gangster Returns (India, Tigmanshu Dhulia) 

Tigmanshu Dhulia heightens the sexual and political elements from the first Saheb Biwi Aur Gangster (2011) film thereby creating a riveting follow-up chapter to the story of a man holding onto his crumbling kingdom. Jimmy Shergill continues to thrive in what may be his finest on-screen role to date.

Passion (2012, Germany/France, Brian De Palma) 

For most of its running time, the film is an enhanced version of Love Crime but the dizzying Hitchcockian ending is truly mesmerizing. The ending left me out of breath and feeling similar to what others have felt when watching Vertigo for the first time.

Inside Llewyn Davis (USA, Coen Brothers) 

The best Coen Brothers film since O Brother, Where Art Thou? features characters who are perfectly in tone, with the exception of Jean (Carey Mulligan). At first, the anger of Jean feels overplayed in comparison to the material but as events later in the film indicate, her behavior is an act meant to suppress her guilt. That realization takes place shortly before a literal kick to the stomach is delivered making it an appropriate fade to black.

In Another Country (2012, South Korea, Hong Sang-soo) 

Hong Sang-soo's easy flowing style incorporates Isabelle Huppert's whimsical character perfectly resulting in plenty of humor.

Computer Chess (USA, Andrew Bujalski) 

A playful look at various computer programmer personalties, ranging from the very shy to those whose supreme confidence borders on arrogance. The black and white visuals coupled with the video footage give the film a 1980’s look and feel, at a time when computers were bulky machines that required some effort to transport from room to room. The humor is derived from the collection of eccentric personalities and as a result, the scenarios feel natural and not forced. As a bonus, the film also literally depicts HAL's birth. 

Blue Jasmine (USA, Woody Allen) 

This feels like a Mike Leigh film filtered through conventional Woody Allen characters. As a result, there is some anger in the material that is displayed on a few occasions. Some of the best moments appear when the characters stop talking and we get a sense of their true feelings.

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Update: Jan 2, 2014

For my 2013 year end list, I only included films that I saw from Jan 1 - Dec 31 2013. This means Nebraska which I saw on Jan 1, 2014, can't be included. However, it is a truly wonderful film that is far funnier than American Hustle or The Wolf of Wall Street. Nebraska would have surely found a spot in my 2013 Top 10.

Also, restricting the list to 25 films meant Gravity, Lootera, 12 Years a Slave, The Missing Picture, Fruitvale Station and OXV: The Manual just missed out.

Neighbouring Sounds

Neighbouring Sounds (O som ao redor) (2012, Brazil, Kleber Mendonça Filho)

This IS a film. Aided by a rich sound design & visuals, Kleber Mendonça Filho’s film ensures an immersive cinematic experience. A viewer gets a ringside seat in one of Recife’s neighbourhoods to witness the daily activities of the residents, including their morning and nightly routines. Depicting the everyday reality would have been good enough, but Kleber Mendonça Filho enhances the experience by adding layers of memories and nightmares with a few smart cuts. As a result, the multi-layered film contains a subtle sense of dread but in a much subtler note than Michael Haneke's Caché. This means that even when viewers witness harmless events in and around an apartment complex, there is a sense that something sinister is going to happen. The viewer can't be passive and is instead forced to examine each frame and its accompanying sound to know what the characters are up to.

The Recife setting of a closed off apartment complex echoes the gated colonies of New Delhi, another city where each street is constantly watched by a number of people, ranging from drivers, cleaners to night watchmen. In New Delhi, there is a tension between urban and rural because people leave their village and smaller towns for the city on a daily basis. As Neighbouring Sounds progresses, it also becomes clear that there is a link between some of the city residents and the countryside and their actions committed in a rural region will result in an opposite reaction in the city.

2012 ---- 2013

After I saw Once Upon a Time in Anatolia at the end of April 2012, I wondered if there would be another film in 2012 which would knock the Turkish film from the #1 spot in my best of the year list. In the end, only one film, Holy Motors, managed to place above Once Upon a Time in Anatolia. Now I feel the same about Neighbouring Sounds and wonder if any film in 2013 will remove it from my #1 spot for 2013's end of the year list. Of course, Neighbouring Sounds is a 2012 film and if I had seen it last year, it would have finished at #1, easily moving past Holy Motors. And Once Upon a Time in Anatolia is a 2011 and it would have surely finished #1 had I seen it in the year of its release. As it stands, for the second straight year, two worthy foreign films are pushed into another calendar year’s evaluations.

The rest of the world have 7 months to deliver an excellent film otherwise the Brazilian film Neighbouring Sounds will be #1 end of 2013.