What do “Socorro Nobre,” “Uma noite em 67,” and “Cabra Marcado para Morrer” have in common? All three are Brazilian documentaries, but at first, few other similarities to come to mind.
“Uma noite em ’67” (A Night in ’67) is about the Brazilian Popular Music Festival of the 1960s and its impact, not only on Brazilian pop culture but on the global music scene. “Cabra Marcado para Morrer” (20 Years Later) details the long, arduous process of filming a movie about João Pedro Teixeira, who led the resistance of the mill workers in northern Brazil. “Socorro Nobre” is about freedom and new beginnings across social classes and racial lines. On some level, however, all three documentaries tackle issues of freedom and identity.
They are part of the National Gallery of Art’s Cruzamentos winter film series. The lineup includes more than 30 contemporary Brazilian documentaries and short films made between the 1970s and today. Cruzamentos, Portuguese for “crossroads,” also has a more poetic definition: “hybridity.” The word refers as much to the intersecting themes of the films in the series as the interplay between Brazilian and international film worlds. Playing at the National Gallery of Art through Feb. 28, the series is a sort of conversation between Brazilian cinema and contemporary international cinema, allowing audiences to familiarize themselves with their traditions and history.
Cruzamentos continues through the end of February. Admission: Free.
Feb. 27 at 7 p.m.:“Socorro Nobre” followed by the Oscar-nominated 1998 feature film, “Central Station,” both by the renown Brazilian filmmaker Walter Salles. For the full schedule click here.