“Brazil, 1977. A Time of Great Mischief.”
This is how Kleber Mendonça Filho greets the audience in The Secret Agent, setting the tone for the next two-and-a-half hours. There’s a slight wink that comes with describing this specific time as one of great mischief. Yet, tension permeates the air from the first vibrant frame.
The Secret Agent is a stylish slowburn that never lets us know where it’s headed. Across its expansive runtime, it incorporates elements of absurdist comedy, political thriller, stop motion animation, and familial drama. Mendonça Filho manages to take these vastly different pieces and merge them into a singular vision that pulls you to the edge of your seat. Billed as a neo-noir historical political thriller, Mendonça Filho subverts any genre expectations, blowing away any dust from the genre.
We follow Marcelo (Wagner Moura), a former teacher, as he returns to Recife during Carnaval with the intent of reuniting with his son. He moves in under the eye of Dona Sebastiana (Tânia Maria) with a house full of other political refugees while planning his escape from the oppressive Brazilian regime.
Mendonça Filho’s screenplay never holds the audience’s hand. Rather, he lays out each major component thoughtfully, allowing us to piece everything together on our own, and the film is all the better for it. There’s a host of characters maneuvering this world—the corrupt Chief Euclides (Robério Diógenes), his sons Sergio (Igor de Araújo) and Arlindo (Italo Martins), hitmen Bobbi (Gabriel Leone) and Augusto (Roney Villela), Marcelo’s father-in-law (Carlos Francisco)—all with distinct backstories. It’s not crystal clear immediately how they all fit into each others’ paths; however, as the film patiently unfolds, all becomes clear with satisfying results.
The eye of this storm of a film is the magnetic Moura. His Best Actor win at the Cannes Film Festival this year marked him as one to watch, but his performance somehow supersedes any and all expectations the recognition bestowed upon him. Marcelo is a cool, collected man who remains completely in control despite the agony bubbling inside him. Moura has turned out excellent work for years at this point, but The Secret Agent plays perfectly to his strengths and paves the way for his ultimate turn as a leading man.
Maria’s work as Dona Sebastiana, while limited, also leaves a mark on the film. She’s simultaneously no-nonsense and maternal with the people she brings into her home. Dona Sebastiana understands that mischief must be made in dry political times and isn’t afraid to dive in. Maria brings an unspoken wisdom to this woman; we don’t know all she’s been through, but we know she’s seen it all.
Despite the severity of the regime that hovers above the entire film, Mendonça Filho paints Brazil and its people with a vibrant spirit. The film feels like a celebration of the resilience of the Brazilian people; rather than succumb to the regime’s oppressive will, they remain steadfast and strong in their spirit.
This trickles down into all technical aspects of the film. The bold, period costuming by Rita Azevedo immediately immerses you in the seventies, while Thales Junqueira bathes the production design in bright yellows that sing. It all comes together in Evgenia Alexandrova’s lush cinematography.
Mateus Alves and Tomaz Alves de Souza craft a score that feels like a marriage of neo-noir mainstays and pulse-pounding Carnival-inspired sounds. The soundscape acts as both a ticking time bomb and a cultural extravaganza.
The Secret Agent has haunted my mind ever since the credits rolled at the Chicago premiere during the festival. Not only is it simply entertaining, but the ways in which it explores the immediate and long-lasting impact of dictatorships is thoughtful and powerful. The ramifications of political suppression are felt for generations to come. There’s also an emphasis on engaging with history rather than burying it.
Mendonça Filho has famously been overlooked twice as Brazil’s submission for Best International Feature due to the political nature of his films. After its performance at Cannes and subsequent scoop by Neon (a studio known for their strong awards campaigns), it was presumed The Secret Agent would be the easy pick for Brazil. However, it was shortlisted with five other films, resulting in widespread public outcry, including an impassioned video from Fernanda Torres, the star of last year’s Best International Feature winner I’m Still Here (2024).
It’s no secret why this film has the passionate support it does. Its themes remain urgent as ever as we continue to see countries slide into fascism. This film mourns the darkness of its country’s past while uplifting the very people who made it possible to overcome. It’s abundantly clear that Mendonça Filho critiques the country because of his love for it.
Review Courtesy of Adam Patla
Feature Image Courtesy of TIFF