‘If we can’t cope with a ants, don’t disaster with a anthill.” So goes a aphorism chanted by a activists occupying land belonging to a sugarcane estimate plant in a north-eastern Brazilian city of Santa Helena – one bend of a Landless Workers Movement (MST) that has been battling for land entrance for smallholder farmers in a nation given 1984. The means is unimpeachable, and even some-more dire with Jair Bolsonaro’s stream subsidy for cruel agribusiness whose hulk footprint excludes roughly everybody else.
So it’s startling that a outcome of this advocatory and visually pointy documentary – executive Camila Freitas’s feature-length entrance – is rather deadening. Filmed over 4 years, it forgoes commentary, simply concomitant a peasant-activists as they illusion about how to allot a terrain, discuss their principles, and try to win hearts and minds in town. Structured around prolonged discourse scenes shot by with testimony of misapplication and struggle, it finally exudes a bizarre acquiescence notwithstanding all a faith being traded. No charismatic particular clever adequate to lift a film emerges; a rounds of criticism opposite a standing quo, divided from a fields, seem Sisyphean.
Perhaps a regressive army ranged opposite them are too good to design such a breakthrough. But Freitas’s instinct is radically passive, too, refusing to exaggerate undercurrents and factions in a transformation that competence advantage from some-more chronological explanation.
Even a film’s visible energy feeds this feeling of futility. The ravishing shots that punctuate a conversations emphasize a intractable system, as with one of sluggish judges staring into space in a courtroom. But differently they lapse to a landscape, a almighty need to compartment and tend, and a relaxed insusceptibility of nature. Reflection, not revolution, seems a usually viable option.