When the German-owned Dairy he works for is closed down, Cristovam, a middle-aged native Black man from the sertão rural lands of Goiás (a magnetic Antonio Pitanga), goes with the company to their new location in the southern part of Brazil. This is an area that has been occupied by German and Austrian colonies for a long time, so that German has, in effect become the local language, Bavarian liederhosen are worn and German ditties and accordion music rings out of every corner, often accompanied by much heel slapping. Surrounded by racist xenophobes, who are clamouring for a referendum on independence from the rest of Brazil, Cristovam finds himself alienated and ostracized.  

“…we can no longer continue to be the region which pays the most tax and which receives the least in return… taking orders from the lazy folk of the North … This referendum is our shield against the under-development of the rest of Brazil".

Antonio Pitanga as Cristovam in  Memory House (2020)

Eventually, Cristovam finds an old abandoned house full of memorabilia and Afro-Brazilian religious objects that he recognizes and, feeling at home, he decides to live there.  The objects he goes discovering in the house, begin to take on a life of their own, as if alive. Gradually, he identifies with them so much that he begins a metamorphosis of his own, guided by their spirits.  

Aware of the multi-layered complexity of the cultural mix in Brazilian culture, Miranda María integrates  mythical creatures like the bull/ ox (Bumba-meu-Boi, used in dance by lower classes to mock other classes in a show of strength) and the Jaguar (that embodies aggressiveness  and valour), that haunt Cristovam’s deliriums and dreams.  The jaguar can represent the power to face one’s fears and confront one’s enemies. One night, visions of the Jaguar with its ability to see in the night and gaze into the dark parts of the human heart, frighten him to use his spear to defend himself, as he lives  always on guard, tormented by the cruel taunts of his German work colleagues and their delinquent children who murder his dog.

German children in Memory House (2020)

João Paulo Miranda María explores the divisions and lack of cohesion between different area of Brazil through this exposé of a clash of cultures.   Having come from the north- east himself, Miranda María also uses the metaphor of a cattle auction in Goiás, the home state of the main character Cristovam, where the sale of one very valuable breeding bull and his spectacular genealogy, illustrates  the  huge economic, social and racial tiers in the society as the bull is sold for more money than Cristovam would see in a lifetime. 

Antonio Pitanga 

With the help of the ancestral spirits that he evokes, Cristovam seeks to ends his silent suffering by allowing himself to be possessed by the spirits. Inspired by bulls and jaguars and occult rituals of candomblé,he finally decides to fight back.    "it is time…  he has prayed and prayed again for the world to change".

Antonio Pitanga  as Cristovam with his dog

As one reviewer put it, the film is a sort of ‘hymn’ calling for change and a return to one’s roots.  This man, who finds himself in a foreign country in his own land, is surrounded by hostility, milk cows that get slaughtered for getting old, abusive neighbours and few, if any, opportunities for any worthwhile human contact, so he feels that the only way out is to become one with the spirits.

Miranda María avoids gratuitous scenes and a lot is suggested and not clearly seen. There is a painful slow pace and a slow burn as Cristovam is belittled and taunted, but finds himself unable to react being ostracized as the outsider.  Antonio Piranga as Cristovam has a powerful presence on screen, so that although it is not always easy to understand what is going on, it is hard to not be compelled to continue watching. The Art direction (Isabelle Bittencourt), mise- en -scène, photography and lighting is powerfully atmospheric, with a particular edge in the superb colour quality. The DOP is Benjamín Echazarreta, (also known for his work on A Fantastic Woman (2017) and Gloria (2013) both directed by Sebastian Lelio).  

Miranda Maria previously directed a number of short films that gained recognition. Command Action (2015) was selected for the ‘Semaine de la Critique’ at Cannes and later his film The Girl who Danced with the Devil 2016 was awarded a Special Jury Mention.  Selected to participate in the New Director’s Competition at the 68th San Sebastian International Film festival, Memory House (2020) was also the only Latin -American entry of the Cannes Label 2020.

  João Paulo Miranda María

Memory House is Miranda María’s first feature and shows promise of interesting things to come.  He avoids relying on the usual linear narrative. He   tries to let the essence of the subject matter have a weight of its own to build up the storyline, both emotionally and aesthetically, while exposing the weaknesses of the political and social issues of Brazil today.

Credits

Writer/ Director             João Paulo Miranda María

Other writers                 Felipe Sholl

DOP                             Benjamín Echazarreta

Producers                     Paul Cosenza, Didar Domehri and Denis Gomes.

Editor                           Benjamín Mirguet

Cast:                Antonio Pitanga, Soren Hellerun, San Louwyck. Ana Flavia Cavalcanti