Karim Aïnouz became a household name in Brazilian cinema and then shortly internationally in 2002, with his explosive feature debut, Madame Satã, so it's somewhat appropriate that when I catch Aïnouz on the road for this interview, as he is about a week away from beginning to shoot his new film, he tells me an anecdote of how one night, when Aïnouz's publicist rented the Beacon Theatre for the film's opening in New York City, the film somehow mysteriously "refused to play" at one of the screenings. There was a problem with the sound, apparently. "Some Madame Satã entity didn't want to be seen," Aïnouz jokes. This seems appropriate for a film that had a mad and scintillating energy, based on the story of one of the country's earliest transvestite performers, a young black Carioca whose character is forged, in the early 20th century, as part ruthless petty-crime street hustler, part passionate lover cum ingenious performer.
- 5/6/2018
- MUBI
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