Taunay, Francisco. “Tamboro, de Sergio Bernardes” Rio 06 outubro 2009, Home ed: Opinião e Noticia, http://opiniaoenoticia.com.br/cultura/entretenimento/tamboro-de-sergio-bernardes/
Existe um espírito brasileiro? A alma de um povo? Parecem ser estas as questões que Tamboro, que faz parte do Festival do Rio, procura responder. Um projeto com duração total de quinze anos, é sem dúvida um dos maiores, senão o maior filme sobre o Brasil em todos os tempos. Com uma sucessão de imagens belíssimas, aéreas das cidades e das florestas, planos detalhes da natureza e do fazer humano, closes nos rostos mostrando uma infinidade de tipos, numa sucessão impressionante de planos, com uma riqueza audiovisual poucas vezes vista na história do cinema, o filme mostra o Brasil; mostra numa perspectiva não somente contemplativa, mas de utopia, pensando o futuro.
Em termos de literatura, o filme pode ser comparado a Os Sertões, de Euclides da Cunha, obra dividida entre A Terra, O Homem e A Luta, na tentativa de encontrar uma identidade brasileira. As favelas, as manifestações do folclore, os índios, as faces dos habitantes do país, suas crenças e seu trabalho: O Homem. A natureza, a Amazônia, os pássaros, as flores e árvores, os rios, montanhas e mares: A Terra. A luta dos Sem-Terra, o desmatamento da floresta, os conflitos entre ricos e pobres, a violência, o tráfico de animais silvestres: A Luta.
É claro que a comparação não é simples, uma vez que o filme traz em si traços modernistas, uma utopia de Brasil, mostrando o aqui e agora, mas de olho no futuro. As entrevistas e cenas com personalidades conhecidas mostram um pouco do que é o Brasil e do que se pretende enquanto projeto de nação: Leonardo Boff, Rose Marie Muraro, Aziz Ab´Saber, Ailton Krenak, Seu Jorge, todos eles revelando diferentes perspectivas de Brasil, somados ao depoimento de uma série de outros brasileiros desconhecidos.
Mas, é importante dizer, estas falas e entrevistas são absolutamente econômicas, o que se vê o tempo todo é um discurso de sons e imagens em movimento, bem ao estilo d`O Homem com uma Câmera, de Dziga Vertov, ou Chuva, de Joris Ivens, ambos de 1929. A profusão de imagens (não me lembro de ter visto um filme com tantos planos) cria uma espécie de enciclopédia audiovisual brasileira, mostrando muito do que nunca foi visto sobre o Brasil, ou o que foi visto, mas de forma diferente. Não é uma enciclopédia, pois em cada imagem está a marca do autor, o cineasta Sérgio Bernardes, falecido prematuramente antes do término do filme. Minha visão é a de que ele tinha um material tão rico, não somente nos HDs que continham suas imagens, mas na sua mente, que não conseguiu sobreviver à complexidade das imagens que tinha dentro de si. Acredito que Àgnes Varda está certa quando diz que o criador audiovisual funciona como a parábola de Jonas e a Baleia: vomita as imagens que estão dentro de si.
Esta obra monumental tem movimentos e ângulos de câmera fantásticos, uma câmera fantasmagórica que voa por cima dos caminhos das florestas e das pessoas. Um projeto faraônico que teve Rosa Bernardes, mulher do cineasta, como produtora, e montagem de Ana Costa, Joaquim Castro, Renato Martins e Alexandre Gwaz, além do próprio Sérgio Bernardes. A direção de arte ficou a cargo de Domenico Lancellotti, e a trilha sonora é de Guilherme Vaz.
Ao assistir esta obra-prima cinematográfica, fico pensando que estamos numa espécie de Momento Brasil. As Olimpíadas, a Copa do Mundo, o Pré-Sal, a própria seca das plantações de cana-de-açúcar na Índia, que fez aumentar o preço do açúcar e incentivou as exportações brasileiras, tudo parece conspirar para a grandeza e para uma nova utopia de Brasil, há muito esquecida pelo que se denominou complexo de vira-lata. Talvez a cultura brasileira realmente tenha algo de singular e maravilhoso, como foi tantas vezes exaltado pelas gerações passadas e que parecia esquecido, ao menos nas últimas décadas.
Mas é preciso pensar estes Brasis, esta utopia de nação, não de cima para baixo nem de fora para dentro, como sempre aconteceu ao longo da História. Segundo Rose Marie Muraro, entrevistada no filme, existem dois caminhos a serem seguidos na vida, totalmente incompatíveis entre si: O amor pelo poder e o poder do amor. Será possível encontrar um caminho que contemple desenvolvimento e justiça social? Tamboro, na língua do povo ingaricó quer dizer: “para todos sem exceção”.
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There is a Brazilian spirit? The soul of a people? These issues seem to be in Tamboro, which is part of the Rio International Film Festival, seeks to answer. A project with a total duration of fifteen years, is undoubtedly one of the largest, if not the greatest film about Brazil at all times. With a succession of wonderful images, aerial shots of the cities and forests, plans and details of the nature of human making, close ups on faces showing a multitude of types, a succession of impressive levels, with an audiovisual richness rarely seen in cinema history, the film shows Brazil - a perspective not only contemplative but utopia, thinking the future.
In terms of literature, the film can be compared to Os Sertões, Euclides da Cunha, work split between Land, Man and Fight, trying to find a Brazilian identity. The favelas, the folklore, the Indians, the faces of the inhabitants of the country, their beliefs and their work: The Man. Nature, Amazonia, birds, flowers and trees, rivers, mountains and seas: The Land. The struggle of the landless, forest clearing, the conflicts between rich and poor, violence, trafficking in wildlife: The Fight.
Of course the comparison is not simple, since the film embodies traits modernist utopia of Brazil, showing the here and now but looking to the future. The interviews and scenes with known personalities show a little of what is Brazil and it is intended as a project of nation: Leonardo Boff, Rose Marie Muraro, Aziz Ab´Saber, Ailton Krenak, Seu Jorge, all revealing different perspectives of Brazil , plus the testimony of a number of other Brazilian unknown.
But it is important to say, these speeches and interviews are quite economical, what you see all the time is a speech sound and moving images in the style d `Man with a Camera of Dziga Vertov, or Rain, for Joris Ivens, both of 1929. The profusion of images (I do not remember seeing a movie with so many plans) creates a kind of free Brazilian audiovisual, showing much of what has never been seen on Brazil, or what was seen, but differently. Not an encyclopedia, because each image is the hallmark of author, filmmaker Sergio Bernardes, who died prematurely before the end of the movie. My view is that he had a material so rich, not only on the hard drives containing your images, but in his mind, that could not survive the complexities of the images I had inside. I believe that Agnes Varda is right when he says that the creator of audiovisual works as a parable of Jonah and the Whale: vomits images that are inside.
This monumental work has moves and fantastic camera angles, camera ghostly flying over the paths of forests and people. A pharaonic project that had Rosa Bernardes, wife of filmmaker, as a producer, and assembly of Ana Costa, Joaquim Castro, Renato Martins and Alexandre Gwazi, besides himself Sérgio Bernardes. The art direction was entrusted to Domenico Lancellotti and the soundtrack is Guilherme Vaz.
When watching this cinematic masterpiece, I think we're in a kind of moment Brazil. The Olympics, World Cup, the Pre-Salt, the very dry plantations of sugar cane in India, which has increased the price of sugar and encouraged the Brazilian exports, everything seems to conspire for greatness and a new utopia in Brazil, long forgotten by what is called complex pooch. Perhaps the Brazilian culture really has something unique and wonderful, as was so often praised by past generations and that seemed forgotten, at least in recent decades.
But you have to think these Brazils, this utopia of a nation, not the top down or from the outside in, as always happened throughout history. According to Rose Marie Muraro, interviewed in the film, there are two paths to be followed in life, totally incompatible with one another: the love of power and the power of love. Is it possible to find a path that includes development and social justice? Tamboro, in the language of the people Ingaricó means "to everyone without exception."
Coupeau, Steeve. “Movie Review of 8th Annual Cine fest Petrobras Brazil-NY” New York 13 June 2010, Home ed: NYIHA MEDIA, Film Review Archive, 29 June 2010.
The 8th annual Cine Fest Petrobras Brazil-NY concluded on June 12th with a successful performance by Os Palamares de Suceso & Maria Gadu and a screening of Oscar Niemeyer’s Life is a Blow. As in previous years, the festival featured films on environmental preservation. A comparative look at two film projects revealed best practices that made Tamboro one of the best films in the festival this year. Jorge Bodansky’s Within the River, Amongst the Trees is a fine documentary that explores the story of conservation in various sustainable development reservations in Brazil. The movie expressed the view of many native Brazilians that environmental laws should rightfully be established by local communities instead of being dictated from the outside. The film reveals widely known truth in conservation studies such the link between tree cutting and poverty. One of the best lines in the film is “People cut trees because they lack other kind of income.” Nonetheless, reservation residents are becoming increasing aware of the negative effects of tress cutting and have begun to emphasize conservation. The downside of the film is that it is largely produced by reservation members, who had no prior access to cameras. While this is a noble goal, it diluted the direction of the film. In contrast, Tamboro is a very strong contender as it exudes strong directorial emphasis on constant camera movement. The film is replete of aerial shots that move the viewer from urban to rural Brazil. It features the story of native Brazilians seeking to live in harmony with nature, while century old natural habitats in the rainforest are being destroyed by the logging industry.
Volkmar Richter in Vancouver Observer
TAMBORO is billed as an exploration of major environmental issues but is far more than that. It calls on city people to get to know and interact with the Amazon region and recognize that indigenous people aren’t in the past, but alive and thriving today.
The alternatives are those crime ridden shanty towns in the cities. The film shows both worlds through stunning images, flashy editing and radical politics in song. The director’s work was long banned by previous right-wing governments. He collected these scenes over decades of filming but didn’t live to see it win two big awards (one for its flashy editing) at the Rio International Film Festival.
