Filmography
The Age of the Earth

Fiction, long-length, 35mm, Eastmancolor/ Cinemascope, 4.350 meters, 160 minutes. Rio de Janeiro, 1980. Production: Embrafilme, CPC (Centro de Produção e

Comunicação), Glauber Rocha Comunicações Artísticas, Filmes 3; Distribution: Embrafilme; Release: 17 November 1980, Brasília; Producer: Glauber Rocha; Production Directors: Tizuka Yamasaki, Walter Schilke; Production Manager: Haroldo Born de Silva; Executive Producers: Carlos Alberto Diniz, Wilson Mendes Andrade Jr. (Quim); Director: Glauber Rocha; Assistant Directors: Carlos Alberto Caetano, Tizuka Yamasaki; Argument and Screenplay: Glauber Rocha; Cinematographers: Roberto Pires, Pedro de Moraes; Camera Operator: John Howard Shemman; Stills: Sonia Nercessian, Paula Gaetan, Tizuka Yarnasaki, Pedro de Moraes, Carlos Cox; Sound: Sylvia Maria Amorim de Alencar; Editors: Carlos Cox, Raul Soares, Ricardo Miranda; Scenographers: Paula Gaetan, Raul Willian Amaral Barbosa; Costume Designers: Paula Gaetan, Raul Willian Amaral Barbosa; Music: Villa-Lobos, Jorge Ben, Jamelão, Nanã, Mozart, Brazilian folklore; Music Director: Rogerio Duarte; Harmony: Vivaldo Santa Pereira; Musicians: Pascoal Trindade Reis, Antonio Apolinário Andrade, Lidio Marques de Sousa, Alvaro dos Santos Cerqueira, Antonio Ferreira da Anunciação, Manoel Natividade Passos; Orchestra: Orquestra Mística da Bahia; Locations: Rio de Janeiro, Salvador, Brasilia; Awards: Menção Honrosa a Norma Bengell - Mostra Internacional de Cinema, Veneza/1980, Prêmio do Museu de Arte Moderna de Cartagena- XXII Festival de Cinema de Cartagena;Cast: Maurício do Valle - John Brahms; Jece Valadão - Indian Christ; Antonio Pitanga - Black Christ; Tarcisio Meira - Military Christ, Geraldo D’EI Rey - Guerilla Christ; Ana Maria Magalhães - Aurora Madalena; Carlos Petrovicho - Devil; Norma Bengel - Amazones' Queen; Mário Gusmão - Babalaô; Danuza Leão - Brahms's wife; Glória X - prostitute; Laura Y - dark woman; Paloma Rocha - young woman; Special Appearances: Carlos Castello Branco, João Ubaldo Ribeiro, Raul de Xangô, Tetê Catalão, Paula Gaetan, Ary Pararraios, Clyde Morgan, Gerard Leclery, Rogério Duarte, Sandoval, Telma Duarte, Adelmo Rodrigues da Silva, Ari José de Oliveira, Albertino dos Santos, Amaro Santos da Silva, Alexandre Dumas Valadares Ribondi, Davi Antonio Neto, Dimer Camargo Monteiro, Fernando Lemos, João José Miguel Jorge Henrique Tosta da Silva, Jo´o Antonio de Lima Esteves, Janduir de Lima Soeiro, José Justino da Silva, João José Prazeres (Blind), Maria Conceição Bispo dos Anjos, Maria da Gloria de Meneses Gelto, Marly Viana de Sousa, Romario Cesar Schettino, Vanderley dos Santos Catalão, Wanilda Silva Machado.

"It is a film that the public should see as if they were in bed, in a party, on a strike or in a revolution. It is a new cinema, antiliterary and metatheatrical, which will be enjoyed, but not seen or heard as is the cinema that gets around at the circuits. It is a film that talks about the attempts of the Third World... talks about the world where we live. It is not to be told, it can only be seen. From Di Cavalcanti on, I broke with the theatrical and fictional cinema."

"Symphonic mosaic. The Age of the Earth solidly inserts in the artistic tradition of Latin America. The proposal of imprisoning the spirit of a nationality in

one sole work has a direct relation with the Mexican muralists. The image of Rivera - or is it Siqueiros? - on a ladder, brush in hand, in front of an immense surface that reduced to a tiny bit the size of the artist, composing with pictures all the story of his people evokes the image of Glauber Rocha involved for years and years with the many kilometers of film that he himself generated in the quixotic (or dantesque) fatigue over the attempt to tell about his country. The nacionalist exacerbation of his work, now devoid of any narrative commitment, finds at last its state of purity. As if there were no time dimension - "only the real is eternal" - the mural-film disposes in the space its blocks of meanings, in an atonal structure that advances through ruptures between Bahia, Brasília and Rio.Birth of Christ, Christ-people and Christ-king, Christ-warrior and Christ-prophet, the world without Christ, and, all over the place, Brahms, the anti-Christ. This allegory, a sucession of allegories in itself, is disposed as a battle picture in which there are several simultaneous actions and the eye strolls on it, ordering them. (...)"

(God and the Devil in the Age of the Earth Entranced. Gustavo Dahl, Jornal do Brasil, Rio de Janeiro, 25/11/80)