Vasant (2017)

Directed by: Daniela Thomas | 116 minutes | adventure, drama | Actors: Adriano Carvalho, Luana Nastas, Sandra Corveloni, Juliana Carneiro da Cunha, Roberto Audio, Vinicius Dos Anjos, Toumany Kouyaté, Jai Baptista, Fabrício Boliveira, Isadora Favero, Geisa Costa, Alexandre da Sena, Maria Helena Dias, Dinah Feldman, Maria Aparecida de Jesus Fatima, Adão de Fatima Gomes, Kelle das Graças Lopes, Adilson Magah, Vasco Pimentel

There is little more Brazilian than a mixed child: the country’s population is generally seen as a great melting pot of cultures and colors. And while well over half of the population is black or colored, and the samba and capoeira are widely celebrated as national symbols of the ‘rainbow nation’, the history of slavery is more often covered up than openly discussed. There are hardly any films about Brazilian slavery.

But the black Brazilians come from somewhere. From where, director Daniela Thomas wanted to investigate in detail. In the impressive historical drama ‘Vazante’, her first solo film, she opens a book about the history of slavery. She has often shown that she does not like to cover up the proverbial ‘black pages’ and has done extensive historical research before making the film.

Diamantina, Minas Gerais, 1821. The rude and taciturn plantation owner Antonio returns to his plantation after a trading trip to find that his wife and child have both died in childbirth. Dismayed, he spends his days quietly until he meets his much younger niece – the daughter of his brother-in-law and sister-in-law, who in their humble position agree to marriage. Even though their beautiful daughter – a child yet – has not yet had her period. Antonio decides to spare Beatriz during the wedding night, and indulges his lusts on the slave girl Feliciana. When Antonio leaves for another trip soon after, Beatriz sinks into loneliness and boredom. Her childish character does not yet distinguish between black and white, has no desire for power, but seeks and finds friendship and affection with Feliciana’s son Virgilio, of the same age. In the absence of supervision but also of any form of meaningful use of time, the two draw further towards each other. That puts all relationships on edge and shows the true face of the horrific history.

It’s not for nothing that ‘Vazante’ was shot in breathtakingly beautiful black and white: the people and their clothing are revealing: the white of an embroidered baby suit, the gray hair of a demented grandmother, a wild black beard. The tranquil images of the silvery landscape seem extraterrestrial. The fire, the rock formations, clouds and trees enchant but also make an alienating impression.
Some of the black roles in the film are played by Brazilians who fled from West Africa today. Thomas says in interviews that she was looking for actors who spoke French and an African language, which is not subtitled in the film. According to Thomas, to convey that the voice of the slaves was never heard before – which, as we see in tragic scenes, can lead to great despair.

Not much seems to happen in the two hours that ‘Vazante’ lasts. The events unfold at the slow pace of the interior of Brazil in 1821. The days pass without heroic deeds or with at most a muted resistance. The obviousness of the actions and the status quo is characteristic. There is hardly any dialogue. The silence is both visual and auditory. And yet, with what little is shown, Thomas is in fact telling the whole story of the creation of the state of Brazil.

It remains to be seen how the reactions in Brazil itself will be to Thomas’s powerful solo debut. This is where the film will come in in all its disturbing truth and leave viewers with a lump in the stomach.