Kleber Mendonça Filho, the acclaimed Brazilian director, finds it difficult to pinpoint the exact reasons behind the remarkable international success of his fourth feature film, The Secret Agent. However, he believes that Brazil’s increasing cultural prominence on the world stage plays a significant role. This Portuguese-language political thriller, set against the backdrop of Brazil’s military dictatorship in the 1970s, follows an academic on the run in the coastal city of Recife. The film has garnered widespread acclaim, securing prestigious awards at both the Golden Globes and Cannes Film Festival. It has also earned four Oscar nominations, including Best Picture and Best Actor, further cementing its status as a global cinematic sensation.
The triumph of The Secret Agent builds on the momentum created by last year’s I’m Still Here, which made history as Brazil’s first film to win an Academy Award. Speaking from Paris via Zoom during the height of awards season, Mendonça Filho shared insights into the film’s worldwide reception, the evolution of Brazil’s audiovisual landscape, and his aspirations to potentially direct projects outside his home country. This interview has been carefully edited and condensed for clarity and flow.
When asked about the film’s broad international appeal, Mendonça Filho attributed it to the foundation laid by his earlier works. He explained that his career has followed a steady progression, culminating in this ambitious thriller that offers a sweeping human and historical perspective on Brazil. The country’s complex political history has increasingly attracted global attention, which has undoubtedly contributed to the film’s warm reception. Additionally, the success of I’m Still Here last year helped open doors for Brazilian cinema on the world stage. Featuring Wagner Moura, an internationally recognized Brazilian actor, The Secret Agent benefits from the growing respect and admiration for Brazil’s cultural output worldwide.
Beyond its political thriller elements, The Secret Agent incorporates surreal and fantastical touches, such as an animated scene involving a severed leg terrorizing people in a park. Mendonça Filho revealed that while he has a deep fascination with the natural world, he is equally drawn to fantasy and the imaginative possibilities offered by cinema and literature. Although he admires Latin American literary giants like Gabriel García Márquez, Jorge Luis Borges, and Julio Cortázar, he does not consciously model his work after them. Instead, he emphasized that the film’s blend of realism and the extraordinary serves as a metaphorical critique of censorship and police brutality during Brazil’s dictatorship, with the bizarre imagery symbolizing the violence inflicted on citizens. This fusion of the ordinary and the fantastical is central to his storytelling approach.
Reflecting on the current flourishing of Brazilian cinema, Mendonça Filho highlighted the crucial role of public policy in nurturing new talent and regional productions. During former President Luiz Inácio Lula da Silva’s second term, government initiatives aimed to decentralize film funding, supporting projects beyond the traditional hubs of Rio de Janeiro and São Paulo. Mendonça Filho credited this approach with enabling him to create his earlier film Neighboring Sounds in Recife, which helped establish his reputation. He stressed the importance of such programs in building a diverse and authentic Brazilian audiovisual identity, which not only generates employment but also strengthens national cultural pride.
When comparing Brazil’s audiovisual industry to South Korea’s booming cultural sector, Mendonça Filho acknowledged the similarities in government support for artistic expression. Brazil’s constitution protects and promotes the arts across various mediums, including literature, theater, music, and film. South Korea’s strategic investment in cultural exports like K-pop and internationally acclaimed filmmakers has elevated its global profile. Mendonça Filho expressed optimism that Brazilian cinema is following a similar trajectory, with recent films opening a new window for international audiences to engage with Brazil’s stories and realities. This growing recognition is a source of great pride for him and the industry as a whole.
Regarding the collaboration with Netflix, Mendonça Filho emphasized the importance of prioritizing theatrical releases before streaming premieres. The film’s Brazilian streaming rights were sold to Netflix, ensuring it will become available on the platform only after an extended run in cinemas. As a staunch advocate for the traditional movie-going experience, he values this approach, which balances the interests of theaters and streaming audiences. Moreover, he welcomed the opportunity for millions of Brazilians without access to cinemas to watch the film at home. Mendonça Filho also called for Brazil to implement taxes on streaming giants, which profit heavily from local content, to reinvest in the national audiovisual sector.
Looking ahead, Mendonça Filho revealed that his next project will once again be a deeply personal film, one that he plans to research and write himself. However, he is also open to exploring opportunities abroad, potentially directing stories set outside Brazil in countries like the United States, England, or France. He expressed a willingness to embrace new challenges and narratives, emphasizing that while his films often contain Brazilian elements, the core of his storytelling transcends national boundaries. The experience of making The Secret Agent—with its complex historical context, collaboration with Wagner Moura, and sensitive portrayal of a difficult era—has prepared him for such ventures.
As the Oscars approach, Mendonça Filho reflected on the significance of this moment for both Brazilian cinema and audiences. The international acclaim for I’m Still Here and The Secret Agent represents a breakthrough in how Brazil is seen on the global cultural map. These films offer Brazilian viewers the powerful experience of seeing their own stories and identities reflected on the big screen, while also gaining prestige abroad. Mendonça Filho highlighted the film’s nomination for Best Casting, praising the exceptional work of Gabriel Domingues and the entire team. He described the atmosphere in Brazil as electric, with people engaging deeply with the film’s themes of history, dictatorship, violence, and above all, the warmth and affection that characterize Brazilian society. Despite the contradictions of a country that is both beautiful and troubled, loving yet violent, the film captures the essence of the Brazilian spirit, making this a truly special moment for the nation’s cinema.
