Our film is not historical, it is current, says Caua about A Viagem de Pedro

A Viagem de Pedro Laís Bodanzky’s new film (Like Our Parents), is in theaters days before the bicentennial of Independence. After being shown at festivals such as the Mostra Internacional de Cinema in São Paulo and Gramado, the launch does not happen by chance.

Caua Reymond

(Piedade) plays Dom Pedro I in this work that is based on the deconstruction of an important figure in the history of Brazil — and is accompanied by a great cast. Names such as Luise Heyer, Victória Guerra, Francis Magee, Rita Wainer, Isabel Zuaa, Luisa Cruz, Joao Lagarto and Celso Frateschi stand out.

Lais great direction — her first experience with the historical genre — focuses on Pedro’s extremely intimate moments and plunges (literally, in a memorable scene) into the past.

In the plot, Pedro must face the rejection of the people he once ruled, the price of greed for power and his failures as a husband. The guilt he feels for the death of Empress Leopoldina is one of the main conflicts that unfolds in a dense and claustrophobic plot; after all, it mostly takes place inside the ship bound for Portugal, near the end of its life.

Chat with Lais and Caua

A Vejinha, Laís Bodanzky and Cauã Reymond talk about the launch of ‘A Viagem de Pedro’. “I believe that, now, close to Independence Day, the film gains new layers, especially in terms of reflection.

He is a provocation for us to always look at the past with a critical, contemporary look. We must ask: ‘Who created this date?’”, says the filmmaker. “It’s interesting that, sometimes, the public thinks they’re going to watch a movie and the result is different. People are moved by what we bring on screen. It’s something rich, because we don’t present the heroic Dom Pedro I”, defines Caua

The duo recalls that, at one of the premieres, several teachers registered their interest in taking the film to schools. “They said they would like to promote debates with students. We think this is great, says Lais.

A toxic man

Pedro’s deconstruction was gradual, in a team effort that began with an “invitation that was also a provocation. According to the director. “We wanted to talk about the toxic man.

He has always existed, but today we are aware of him. And other layers came beyond this critique. The oppression of race takes on striking features. It was impossible not to put a spotlight on the slaves who lived with Pedro.” Cauã completes: “Our film is not historical, it is current”.

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