Filmography
Claro

Original Title: Claro. Fiction, long-length, Eastmancolor, 3.000 meters, 110 minutes. Rome, Italy, 1975. Production: DPT-SPA; Producer: Alberto Marucchi;

Co-producerr: Marco Tamburella; Production Director: Ugo Persichetti Auteri; Executive Producers: Giacomo Lova e Loya Telli; Director:Glauber Rocha; Assistant Director: Anna Carini; Cinematographer: Mario Gianni; Sound: Manlio e Davide Magara; Music: Samba de Roda, Maculelê, Bella Ciao, Casta Diva, Internazionale Bandiera Rossa, Villa-Lobos, Vivaldi (The Four Seasons), João de Barro (Primavera no Rio), J. Flores e M. O. Guerreiro (Índia, version by José Fortuna, sung by Gal Costa).Cast: Juliet Berto, Mackay, Luis Maria Olmedo (“El Cachorro”), Tony Scott, Jirges Ristum, Luis Waldor, Betina Best, Yvone Taylor, Francesco Serrao, Anna Carini, Jarine Janet, Luciana Liquori, Peter Adarire, Glauber Rocha, Carmelo Bene, o povo de Roma.

"A Brazilian view of Rome. That is, a testimony of the colonized about the land of colonization."

  INTERVIEW

Why this title?
Because I wanted to see clearly the contradictions of the capitalist society of our time.

Are you sure that this clearness will be also transmited to the public?
I am not a prophet. I believe honestly that I have made a film with no ambiguities, I mean, no ambiguities in the political level. For instance, it seems to me to be very clear the moment in which, at the end of the film, the poor people occupy the screen: the people must occupy the space that was pulled out from them in centuries of oppression. As to my relation to the public, I can say that I do not have, indeed, a paternalistic regard in relation to the public. My film is, on the contrary, an openwork, which leaves a broad space to free interpretation, but, I repeat, never being ambiguous.

Say something about the woman protagonist and about the meaning of the initial sequence.
The protagonist is a myth too, a myth that goes through the film. It coud be the myth of innocence, of naïveté, in relation to the hostile, repressive world. The musical dialogue in the beginning between the lady and the voice in off is some sort of exorcism, a ritual fact, a chat between past and present, anguish and hope. It is also a way of fighting neurosis, which I believe is a typical product of the capitalist system.

Interview with Glauber Rocha, in Paese Sera, Rome, 23/7/75