Professor of Brazilian violin – Blasting News

Even leaving aside the Olympics, rejected by half of the population in Brazil, a country in economic recession and especially living a democratic and strong institutions crisis, where more than 80% of the population is against the interim government of Temer. The film offers a redemptive face through popular education and the arts. The film is the story of a violin teacher, Laertes, who after not being chosen at an audition for the symphony orchestra of the state, he began teaching in the favela of Heliopolis. The film is based on the story of Silvio Bacarelli who managed to change in the late 90s the story of a high school (now Bacarelli Institute). He created the symphonic of Heliopolis removing the ghetto to a whole generation of children of the favela.

It is impossible not speak under this atmosphere of films very known as Central do Brasil (Walter Salles 1998), Ceudade de Deus (Fernando Meirelles 2002), Carandiru (Hector Babenco, 2003) All these films exude a deep sense of redemption in the midst of exclusion. There is a deep social concern, a critical reading of the living conditions in Brazil and evolution through the intervention of an element of salvation in the weakest strata of society. Ciudade de Deus is the job of photographer Central do Brasil is the withdrawal professor, played by Fernanda Montenegro. There is a link between humanist work and education to get the ghetto.

Sergio Machado (Salvador 1968) Professor of Violin projects a sense of social transformation in the midst of barbarism through a music teacher. It is no longer the same identity as signed Glauber Rocha “a poor people have to make a # Film poor” but yes you can breathe a deep social concern. Brazil still has layers of population obvious inequalities, and although in recent years an improvement of the lower classes is enabled, the film follows hondado in ghosts exclusion.

The music has an important weight in the film. In this case the rhythms are not samba or Brazilian popular music, or tantric rhythms of animistic religions, is classical music. The script, perhaps precipitated at certain times, especially at the end, not too much detracts from the film. Watercolor São Paolo, from the districts with beautiful views of the city, like the labyrinths of the favelas, are powerful and beautiful images of the film working with the director. A contrast that also comes with the visual contrast of the violence of the streets, opposite the melodies of stringed instruments under the notes of Bach or Vivaldi.