Conclusion

Abstract

This book began with an anecdote about an unsatisfactory exhibition of Glauber Rocha’s film Terra em transe in the town of Milho Verde, Minas Gerais, and will end with two final questions, one of which involves the same director and the other that relates to the important matter of the dismissal of Mazzaropi’s highly successful films by the critical establishment. The first question has to do with the veracity of the success of Rocha’s films, something upon which so much of Brazilian film criticism has based its appreciation of the whole Cinema Novo movement. The second question tries to understand the continuing love of the Brazilian public for Mazzaropi’s films, a body of work that has been considered so lowly that it has mostly been ienored or misunderstood.