Director Mendonça Filho of ‘The Secret Agent’ reflects on memory and success of Brazilian cinema

For the second consecutive year, Brazil has established a commanding presence at the Academy Awards with “The Secret Agent,” directed by Kleber Mendonça Filho. The film has secured nominations in multiple categories including best international film, best picture, best acting, and achievement in casting.

This remarkable achievement follows last year’s success when Walter Salles’ “I’m still here” claimed the Oscar for best international film, signaling a potential new golden era for Brazilian cinema on the global stage.

“So many good things have happened to the film and it feels like it just keeps going,” Mendonça Filho remarked during an interview in Mexico City, where “The Secret Agent” is currently playing in theaters. The director, known for critically acclaimed works like “Bacurau,” “Pictures of Ghosts,” and “Aquarius,” attributes this Brazilian cinematic renaissance partially to robust public funding for filmmaking in the country.

“What I want now, today talking to you, is that…there is a film being edited in Brazil by someone and maybe this film we will be talking about next year. That’s what I want,” he shared, emphasizing his hope for sustained momentum in Brazilian filmmaking.

Set against the backdrop of Brazil’s military dictatorship in 1977, “The Secret Agent” unfolds in the northern city of Recife. The narrative follows a character portrayed by Wagner Moura who assumes a false identity to evade pursuers while desperately searching public records for any trace of his missing mother. The film poignantly explores the theme of vanishing memories – both personal and collective – as the protagonist himself risks fading from his own son’s recollections.

Mendonça Filho delves into how memory intertwines with social class in Brazilian society. “In my country, memory is associated with class,” he explained. “For example, well-off families from the middle class, they all have family albums. But if you go to poor families… they don’t. It’s an incredibly strong theme to be discussed. And I think that’s what the film is about. The film is very much about not having existed. Not because of you, but because of society.”

The film’s meticulous recreation of 1970s Brazil showcases the collaborative efforts of production designer Thales Junqueira and costume designer Rita Azevedo, who bring authenticity through period-accurate fashion, architecture, and vehicles. The casting includes standout performances, notably from septuagenarian Tânia Maria as Dona Sebastiana.

Despite addressing serious sociopolitical themes, “The Secret Agent” maintains a distinctly Brazilian sensibility by incorporating moments of unexpected humor. These include a bizarre “hairy leg” attack hoax used to justify crimes and nostalgic tributes to local theaters that once screened international blockbusters like “Jaws.”

For Mendonça Filho, the film represents a deeply personal journey. “1977 is the first year I remember,” he revealed. “I was already a little cinephile. I was very interested in cars. I don’t know anything about cars today, but cars at the time were really interesting for me. People I remember, clothes, colors. And when I was writing the script, I really felt myself crawling back into time, into myself.”

The director aimed to create a cinematically immersive experience, shooting in Panavision and crafting an engaging soundscape filled with music. “Much like the films from the past that made people want to see films in a cinema,” he explained. “Sometimes it can be brutal, but it’s also full of love and it’s very much about life in Brazil and in Latin America.”

“The Secret Agent” represents the continuing evolution of Brazilian cinema on the international stage, arriving at a time when global audiences are increasingly embracing non-English language films. With the Academy Awards ceremony scheduled for March 15 in Los Angeles, industry watchers are closely monitoring whether Brazil might secure back-to-back victories in the international film category, further cementing the country’s growing influence in world cinema.