” – a nuanced look at systemic racism in modern Brazil – is about to make its third appearance on this year’s festival circuit.
Steeped in imagery from indigenous Brazilian folklore, the film is a study of what happens to an oppressed minority as decades of abuse chip away at his humanity. Later that year the Brazil’s president would be impeached, eventually paving the way for Jair Bolsonaro’s government that Miranda Maria said has allowed “very conservative people to have a podium to speak”.
In “Memory House,” the director attempts to evoke these feelings through detailed scene compositions, and he credits his partnership with Oscar-winning cinematographer, Benjamin Echazarreta with helping him to realise this. However, this method may also have its origins in necessity. Hailing from a small town outside Rio, with no film industry contacts, Miranda Maria spent his early film career persuading wedding videographers – and anyone he could – to lend him equipment, usually a single camera.
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