Abstract
The paper is a freestanding reflection on a striking aspect of a number of films of the 1960s, namely the filmmakers’ desire to connect with the popular and marginal fractions of the country, something that appears at the thematic, aesthetic, political and also productive level of the works. After some considerations on Vidas secas (1963), by Nelson Pereira dos Santos, the paper focuses on Os fuzis (1964), by Ruy Guerra, and on the first Cabra marcado para morrer, an unfinished film by Eduardo Coutinho, whose shooting was interrupted with the outbreak of the coup in 1964.
Keywords:
Brazilian cinema; engagement; art and society