Enligthened hinterland: Rosemberg Cariry’s hinterland cinema

Abstract

From the analysis of Rosemberg Cariry’s three first films, this article discusses the perception of “sertanejo” (the man who lives in the hinterland) and hinterland in the screen. Despite the intrepretation which considers sertanejos atavic and inert, guided for the determination of the environment, the Cariry’s work tries to show that, through the traditions which renew themselves, those “sertanejos” of his plot turn the symbols which label them as Barbarians into shouts of revolt. Thus, located in their time, Cariry’s movies act out the reality, over all, propagating the art in the process of transformation.