There is no like the carioca Rodrigo Felha hide the hint of pride when he says: “I was one of the first favelados to enter a film school, Darcy Ribeiro, as a result of the democratization of the scholarship system”. At 40, he says it took him a long time to identify himself as a filmmaker. “The asphalt people, before me, realized the achievement”. Becoming a filmmaker has become a matter of “personal imposition”. For more than 14 years, in a career retrospective, the director – professionalized during the making of the documentary Falco, boys of the traffic (by Celso Athayde and MV Bill) – notes that from a generation in which access was difficult for people in the favelas. “I am one of the first filmmakers to see audiovisual as a tool for transformation”, says, seeing the latest project launched: the series Gay favela – Peripheries LGBTQI +, which opens today (3/25), at 7:30 pm, at Brazil Channel.
Awarded best film by the Rio Film Festival in 2014, the feature film Gay favela it was the origin of the current series. “Until today, he generates invitations to debates and lectures and brings my desire to make people visible: we frighten society, in the contramo. There was a desire to make normal people (always interviewed, and not characters) visible in the way they should be considered. The public expected the oppressed, sad and suffering favela gay, but there is the side he wanted to show – the side of struggle and survival. At the time of the crowded documentary sessions, they asked for other and other sessions, ”recalls Felha.
One of the systematic comments, in the repercussion of the film was: “I didn't see anything too much in these gays”. The goal of reproducing reality has been achieved. In a completely separate, straight universe, Rodrigo Felha was attracted by curiosity. He was hooked by the desire to register who were the people who, in an event (burning game organized by Tati Quebra-Barraco), overshadowed attractions such as the funk beat and the dynamics of interaction between communities (present at the party): there was “ecstasy , joy and affront ”when the female players left the court and entered the gays to play.
The love between Isabella Santorinne, a transsexual woman, and the passionate Raffa Carmo sets the tone for one of the ten episodes of the series recorded in Par. The program's research team also recorded real plots in the Federal District (transsexual Thayn Caminho, from Cidade Estrutural, is among the interviewees, alongside Ricardo Caldeira, an artist integrated in So Sebastio's cultural centers), in So Paulo, Bahia and in Rio Grande do Sul. Family conflicts, welcoming of parents, and actions by groups against the prostitution network that insists on being the solution for unemployment of about 80% of transvestites, along with the discovery of possibilities, such as the adoption of social name, are among the subjects covered that still fall on complications in topics such as paternity.
Among the findings of director Rodrigo Felha, able to share intimacy with interviewees, is the projection of the inner ailments of some, and the vocation of most Brazilians as “a society that only attacks, not embraces”. Round at the end of 2018, s now series Gay favela – LGBTQI peripheries little screen arrives. “The benefit of the audiovisual product having taken a long time to come comes from our moment: we are in an era of confronting, affirming and reaffirming. Diverse, distinct and plural people, in various parts of Brazil, enter the same street, lined up to say 'we are the same and we suffer and live the same way' ”, comments the director.
In the information line, a São Paulo intersex, a participant in the series, exemplifies the enthusiasm that flows from Felha: “We have the benefit of reflection. Before, they would call him a hermaphrodite, bringing an animal connotation to a human being. Parents and science chose sex to be followed in his case. He questions the feeling of being wrong (dubiousness). He was severed: he thinks like a man, in the biotype of a woman ”. The filmmaker evaluates not to have emphasized sensualization or sexualization of the content of any program in the series.
In one of the episodes – which surrounds the consecrated images of the transsexual Leona Vingativa and her friend Paulo Colluci, one appears to emphasize that neither the police father “demanded a change” from the homosexual son. Assuming the cap of “a myth”, Leona Vingativa leads the entertainment content of the series, by revealing, in Par, reasons of such reach on social networks. Defending the awareness of people about part of the “dirty and filthy” world, she reigns in parias and music clips in which titles such as Trash in your face, I want a boy and Patrcia's Life.
Born and raised in Cidade de Deus, Rodrigo Felha started in the audiovisual sector carrying a camera bag for Uruguayan director of photography Miguel Vassy, in Falco – Boys of the traffic. Vassy instructed him, to the point of being forged professionally and, in the sequence, Felha had the talent harnessed in the success, whose producer was Cac Diegues, called 5x Favela – Now for ourselves (2010).
In the reality of the periphery, the routine with the coronavirus is even tighter, but the audiovisual expression reverts to a certain comfort, according to Felha clarifies. “We are trying to avoid leaving home, and we stay with family members. My work has been strong, in terms of awareness. Favela people have basic needs and things only happen if, in fact, they go to work. When we talk about working: we talk about getting full BRT, full train and subway. The apprehension of when this will reach us. We try to alert everyone, through social networks ”, he comments. Presiding over the NGO Os Arteiros, Felha guarantees massive action, talking about prevention: “We have a job with the potential to help people”, he summarizes.
Through the arts, mobilized with the making of the feature 5x Pacification (2012), Felha defeated part of the confrontation that links “playful and imaginary security embraced by society (the other end of the problem)”. One of the founders of Cufa (Central nica das Favelas), he says he “made a noise” in the implementation of the audiovisual core. At Rede Globo, he answered for some scripts of the program Heat. In Pacification, by choice, Rodrigo Felha addressed the theme of Police.
This is because, one day of leaving for Cannes (France), in which he would present another film, when he was going to celebrate dinner, Felha was approached by a policeman who wanted to “lower his pants”, to make a magazine. “There was no dialogue, but embarrassment. Da, I wanted to understand (in the Pacification) police thinking about the favela. We have an outdated security policy, absolutely. a job of exchanging lives for drug seizures. The governor, with the police, exchanges our lives for the apprehension of a rifle ”, he concludes.