Executive Order

At the end of "Medida Provisória," Lázaro Ramos' debut film, the excellent song "O Que se Cala" by Elza Soares appears on the screen. It is an immersion. An explosion. After all, while Elza sings, the screen shows the Brazilian black people in a kind of social revolt and people take their place of speech. There is a sense of urgency in the narrative. There is effervescence. "Medida Provisória" takes place in a dystopian Brazil that is not so far in the future. In the story, after a series of controversial measures, the Brazilian government decides to ban blacks from the country. They shout that it is better for them to return to their original lands, a mixture of xenophobia and structural racism every day. From then on, we follow the effects of this decision. Ramos' direction, which adapts very well the play that originated the feature film, is the first hit. Although there is a certain subtlety missing, he goes deep and dives into the pains of being black in Brazil. It reveals prejudices in words and gestures, provokes and instigates. It speaks of a Brazil that does not exist now, but that is provoking itself, instigating. For many, there may be exaggerations in the placement of some situations, when the fantasy of dystopia takes over. But the question remains: is there really? Of course, it is impossible that there is a legislative movement like in the movie. But do the black and even native peoples of Brazil not live exiled in their own lands, in their country? Everything gains even more powerful contours with the performances of Taís Araújo, who delivers a strong character, and Alfie Enoch, from the "Harry Potter" saga, who impresses by interpreting a Brazilian without any embarrassment and who reaches the necessary power.

Filmelier

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