Country: Brazil
Year: 1969
Duration: 82'

"O anjo nasceu è un film maledetto, nichilista, suicida e straziante. Mi d` dolori allo stomaco. Mi fa pensare che ciò che è giusto è sbagliato. Oltre a essere ripulsivo, ripugnante. Mai ho potuto amare un film con tanto disprezzo." (Jairo Ferreira)

Santamaria and Urtiga, a white and a black bandit, leave a trail of blood behind them in Rio de Janeiro. Santamaria is mystical and visionary. He believes that a purifying angel is coming soon. Urtiga is more of a simpleton, but believes this in the same way. He follows his partner without any arguments. Santamaria dies in a mad delirium in which he identifies himself with the purifying angel.

"This is the story of two people on the otits with society. It is a kind of allegory where there is no action. There is no real emotion. The characters move in a way so that we can notice the style of the take, the tone of the cinematography, and the sounds of the music." (José Carlos Avellar)

"The title represents the emotion of the discovery of impotence. The title is philosophically related to a certain attitude when facing certain obstacles. The arrival of the angel means the end of the character and obviously the end of his own story." (Júlio Bressane)

"O anjo nasceu is a damned, nihilist, suicidal, and tearing film. It gives me a stomach ache. It makes me think about what is right and what is wrong. All this, besides its being repulsive and repugnant. I have never loved a film so much that I had so much contempt for." (Jairo Ferreira)


film director

Julio Bressane

Julio Bressane was born in Rio de Janeiro in 1946. As an adolescent, he frequented the haunts of the nascent Cinema Novo, establishing ties with Paulo Cezar Saraceni, Glauber Rocha and Leon Hirszman. At 19 years of age, he was assistant to Walter Lima Jr. for the film Menino de Engheno and then later to Fernando Campos for A Viagem. He debuted as a director in 1965 with the short film Lima Barreto: Trajetória. O Anjo Naceu and Matou a Familia e foi ao Cinema are received as a break with Cinema Novo. Cinema Marginal or "udigrudi". The term was never recognized by his esponents. In 1970, with Rogerìo Sganzerla and Helena Ignez, he founds the production house Belair, whose activity is brusquely interrupted by the military dictatorship, which forces the three founders into exile. Bressane lives a few years abroad, mainly in London and New York, he travels to Morocco and in Asia until 1973, when he returns to Brazil. Over the past few years, after a long period of ostracism by international festivals, his films have been presented with growing success in Taormina, Venice, Turin and Rotterdam. In 2002, the Torino Film Festival presented a complete retrospective of the Brazilian director.


Lima Barreto: Trajetória (1965-1966), Bethânia Bem de Perto (1966), Elis Regina (1966, film perduto), Cara a Cara (1967), O Anjo Nasceu (1969), Matou a Família e Foi ao Cinema (1969), Barão Olavo, o Horrível (1970), A Miss e o Dinosauro (1970, film perduto), Cuidado Madame (1970), Memórias de um Estrangulador de Louras/Memories of a Blonde Strangler (1971), Amor Louco/Crazy Love (1971), A Fada do Oriente (1972, film perduto), Lágrima Pantera (1972, film perduto), O Rei do Baralho (1973); Viagem Através do Brasil I (1973-1974), Viagem Através do Brasil II (1973-1974), Viagem Através do Brasil III (1973-1974-1975), O Monstro Caraíba - Nova História Antiga do Brasil (1975), Viola Chinesa - Meu Encontro com o Cinema Brasileiro (1975), A Agonia (1976), O Gigante da América (1976), Cidade Pagã (1979), Cinema inocente (1980), Tabu (1982), Brás Cubas (1985), Sob o Céu, Sob o Sol, Salvador (1987), Sermões - A História de António Vieira (1989), Quem seria o Feliz Conviva de Isadora Duncan? (1992), Galáxia Albina (1992), Infernalário: Logodédalo - Galaxia Dark (1993), O Cinema do Cinema - Criação e Recriação da Imagem no Filme Cinematográfico (1993), Antonioni - Hitchcock: A Imagen em Fuga (1993), As Canções que Vôce fez pra Mim (1994), O Mandarim (1995), Miramar (1997), São Jerônimo (1998), Dias de Nietzsche em Turim (2001), Nietszche in Nice, Filme de Amor (2003).


& Credits

Director and screenplay: Júlio Bressane.
Director of photography: Thiago Veloso.
Art director: Guaracy Rodrigues.
Editor: Mair Tavares.
Sound: Guilherme Magalhães Vaz.
Cast and characters: Hugo Carvana (Santamaria), Milton Gonçalves (Urtiga), Norma Bengell (donna sposata), Maria Gladys, Carlos Guimas, Neville d'Almeida.
Production company: Júlio Bressane Produções Cinematográficas.