Mato seco em chamas

In Sol Nascente, einer gigantischen Favela nahe Brasilia, organisiert ein Frauenkollektiv den illegalen Öl- und Sprithandel. Drei von ihnen stehen im Fokus, mal spielen sie sich selbst, mal sind sie es. Denn die Inszenierung trennt weder zwischen Fiktion und Dokument noch zwischen den Genres. Die Frauen treffen als westernhafte Outlaws in staubigen Straßen auf futuristische Polizeipanzer, primitive Technik fördert in Hinterhöfen Öl, in Brasilia weckt Bolsonaros faschistoider Wahlkampf Begeisterung. Den Film in seiner Schilderung der elenden und brutalen Zustände im Land eine Dystopie zu nennen, wäre ein Trost: Leider handelt es sich um die Realität. (Barbara Kronsfoth)

A remarkable futuristic (and yet entirely contemporary) political fantasy, full of anger at a dystopian scenario, which evokes the structural impoverishment of Brazil and the reactionary consolidation led by Brazilian president Jair Bolsonaro and his regressive and repressive policies. It is made up of fragments of Brazilian reality that mark out a territory that Queirós has transformed into a mythical location: Sol Nascente, Ceilândia, on the outskirts of Brasilia. Queirós/Pimenta imagine a budding rebellion led by two sisters, one recently released from prison, who have found an oil well on the land where they live and have started processing it into gasoline, offering it at a cheaper price to the region’s bikers who sell drugs.
Far from proposing some kind of hybrid story, the intersection between documentary and fiction allows the filmmakers to extract testimonies and records from real situations here, encasing them in a science fiction story of outcasts in which loyalty, collective work and the spirit of combat are privileged. The nocturnal panoramas are characteristic for a poetics directed at the insubordination of the imagination, the starting point for breaking the power that sustains the abominable Bolsonaro. (Roger Koza)

Adirley Queirós: RAP, O CANTO DA CEILÂNDIA (2005, K), FORA DE CAMPO (2008), IS THE CITY ONLY ONE? (2011), WHITE OUT, BLACK IN (2014), ONCE THERE WAS BRASÍLIA (2017)

Joana Pimenta: THE FIGURES CARVED INTO THE KNIFE BY THE SAP OF THE BANANA TREES (2014, K), AN AVIATION FIELD (2016, K)