The Representation of Brazil’s Northeast in the Film Bacurau: An Analysis of Cinematography
Bacurau; Brazilian Cinema; Cinematography; Northeast; Representation.
This study analyzes the representation of Brazil’s Northeast in the film Bacurau (2019), directed by Kleber Mendonça Filho and Juliano Dornelles, focusing on the cinematography by Pedro Sotero as a central element in the film’s narrative, aesthetic, and political construction. The research brings together film theory, cultural studies, and social studies to examine how the film constructs visual codes of the sertão and perpetuates stereotypes of the Northeast. The theoretical framework addresses concepts such as representation (Hall, 2016), the creation of an imagetic space called the Northeast by Albuquerque Júnior (2011), the cinematic style proposed by Bordwell and Thompson (2013), Mirzoeff’s regimes of visibility (2015), and Didi-Huberman’s visual memory (2011). Applying Bordwell and Thompson’s (2013) qualitative film analysis, key sequences were selected: the arrival of the water truck; the matriarch’s funeral; the drone and aerial surveillance; the arrival of the southerners in Bacurau; the visit to the Bacurau museum; the massacre of the foreigners; and the final burial. A technical analysis guide was used, observing lighting, color, framing, narrative, and scenographic elements. Through the film’s cinematography, the study seeks to illustrate the filmic space as a territory of cultural, political, and social dispute. The dissertation is organized into three chapters: Chapter 1 — What Northeast Is This? reconstructs the genealogy of images of the Northeast in literature and cinema, discussing how the region was historically invented; Chapter 2 — Theoretical contributions on political cinema, genre cinema, and regionalism; Chapter 3 — Analysis of the cinematography of Bacurau.