Cristais de sangue

Resistance in Brazilian cinema made by women in an implied analysis

Abstract

In the same year of 1974 that Bodansky and Senna filmed Iracema - uma transa amazônica, during the civil-military dictatorship, Luna Alkalay made Cristais de sangue, bringing together a group of young people who circumvent repression and make a film of absolute resistance to the oppressive atmosphere of that moment. When analyzing this work, we call upon another film, A extração de minérios, a short film produced in 1970 by the National Agency, in which anything goes in the name of progress. With this movement, we can see, on the one hand, young people who resist the repression of the freedom to seek new paths, creating survival tricks, not interested in hierarchizing relationships, and integrating themselves with the environment. On the other hand, an authoritarian government not used to dialogue invested in the idea of ​​progress at all costs and did not connect with its people or with nature. By approaching this disparate short film, under an analytical approach that seeks to find links that imply the works, we exercised a form that shows that every film can connect to any other, always resulting in something. In the encounter of the two films proposed here, we can discuss the coexistence of antagonistic national programs that continue to this day. Other encounters could invite other discussions. With this method, we propose a reinvigorated way of dealing with films made by women, avoiding them being confined to the category of “women’s cinema”, which often ignores broader analyses.