Cristovam's resistance is the main character.

A man originally from the north, a poor place populated by the descendants of African slaves and indigenous tribes, after 20 years of working in a dairy, has to move to the south, rich and identified with his European origins.

The same corporate management welcomes him to submit a proposal that an "old man, black" to boot, cannot help but accept: the crisis that has hit the Austrian Keinz family imposes sacrifices, the reduction of expenses and thus the modification of the salary of some employees with the loss of all the benefits acquired after decades of work. A surreal monologue with scenic Anderssonian traits, where the boss speaks in German and the secretary translates with extreme robotic synthesis into Portuguese.

This man who has moved for survival to a former Austrian colony in the most reactionary, racist and wealthy area of Brazil occupies an abandoned house, which is a metaphor for his existence.

Both in the loneliness of an inhuman context between the hygienic white and silver of the milk factory in which he works and the warm colors of the house in which he lives and discovers folkloric relics of his land.

From documentary features he draws inspiration from the avant-garde films of the 1920s, 1960s and 1970s, as the director argues, recovering the figure of the old man who resists by taking responsibility for the challenge by virtue of a provenance to be celebrated without hesitation.

The director intends to recreate the metaphor of today's Brazil; through the figure of Cristovam in a region, that of an Austrian colony, founded by people who fled, after World War II, mostly Nazis; involving real people from the place, wanting to make people reflect on the political and social contemporaneity and the danger of the loss of memory.

Cristovam represents a kind of cultural collective, through silences, glimpses of a cynical and cruel reality at times visionary.

Racist insults perpetrated by white and already cowardly kids who wear guns and torture animals.

There is no resistance without violence suffered and reacted to, in the face of manifestations of discrimination and ignorance.

In the abandoned and recovered house, the "Negro" as the locals call him, recovers traces of the past, among the objects/relict of colonialism represented by consuming the overlapping layers of the vandalized walls and dressing in the ancestral shoes of the minotaur herdsman.

THERE IS NO ART WITHOUT RESISTANCE, as the director claims, and the spirit of Cristovam is revived after years of forgotten and mystified bullying.

A surprising and enigmatic first feature, a cinematic language of strong political/social denunciation, structured by a sophisticated and provocative aesthetic.

20-Aug-2023 by Beatrice