Film sociologist Erika Amaral on the blossoming of Brazil’s women filmmakers, the joys of queuing for the movies, the on-fire Brazilian Letterboxd community, and the sentimental attachment of her entire nation to A Dog’s Will.
“It is hard to produce art without institutional support and it is very complicated to produce art during this tragic pandemic.” —Erika Amaral
In the wide world outside of English-language Letterboxd, Brazil occupies a particularly fervent corner. Sāo Paulo-based feminist film theorist Erika Amaral has connected with many other local film lovers through her Letterboxd profile, and for anyone with an interest in Cinema Brasileiro, her lists are an excelente place to start.
From her personal introduction to Brazilian film history, to her own attempts to fill gaps in her Latin American cinematic knowledge, Erika’s well-curated selections are a handy primer on the cinema of the fifth-largest country in the world, and its neighbors. These lists sit alongside her finely judged academic deep-dives into filmmakers such as Luis Buñuel, Glauber Rocha and Sarah Bernhardt.
Endlessly fascinated by how “the history of cinema is all intertwined”, Erika has also written on Jia Zhangke for Rosebud Club, is an Ana Carolina stan, enjoys collecting films directed by women featuring mirrors and women, and, like all of us, watched many remarkable movies during quarantine.