Malu explores the conflict between three generations based on the complexity of family relationships

In his feature film directorial debut, Pedro Freire surprises with the cinematic maturity in Maluperformed in tribute to his mother, Malu Rocha (1947-2013), a notable actress on the Brazilian cultural scene. Shown at the 48th São Paulo Film Festival, the film, which emerged as a big winner at the last Rio Festival — with the awards for Best Film, Best Screenplay, Best Actress (Yara de Novaes) and Best Supporting Actress (split between Carol Duarte and Juliana Carneiro da Cunha) —, now arriving in cinemas across the country.

The synopsis is simple, contrasting with the complexity of the story: Malu (Yara de Novaes, Then I’m the Crazy One) is an unemployed actress, who lives off the memories of her glorious past while sharing a house in a favela in Rio de Janeiro with her conservative mother (Juliana Carneiro da Cunha, Eduardo and Monica) and deals with a troubled relationship with his daughter (Carol Duarte, The Invisible Life).

With a sensitive and incisive approach to the complexities of family relationships, the film unfolds as an intimate tribute to the maternal figure, delving into the life of Malu, a woman who, despite her weaknesses, incessantly searches for fulfillment and meaning in the midst of challenges. emotional and social. From this point onwards, a similarity can be seen between Maluand A Woman Under the Influence (1974), from John Cassavetes.

The American filmmaker is known for his intimate and realistic style, which delves deeply into the complexities of human relationships, highlighting the characters’ vulnerability and emotional nuances. In Maluthis influence is reflected in the way Freire explores family dynamics, especially between three generations of women. Just like in the work of Cassavetesthe Brazilian film is characterized by authentic dialogues, which give an organicity and emotional truth to the story. This choice allows interactions to appear natural and spontaneous, making the audience feel as if they are spying on real moments in these characters’ lives.

Furthermore, the performance of the actresses is one of the pillars of the film and enhances this naturalness. Juliana Carneiro da Cunha, Yara de Novaes and Carol Duarteliving respectively as grandmother, mother and granddaughter, do not just play their roles; they bring to life the nuances of each character, creating an authentic and multifaceted portrait of motherhood and relationships between women.

While the grandmother carries the wisdom of someone who has already faced the storms of life, the mother expresses frustrations and desires, and the granddaughter seeks to break patterns and find her own identity. This dynamic generates a rich emotional fabric, which unfolds naturally, mixing moments of tension with subtlety and humor.

The focus on sensitive topics, such as mental health and the perpetuation of cycles of violence, is another point of connection between Malu and the work of Cassavetes. Both filmmakers stick to complex social and emotional issues, avoiding simplistic melodrama and instead opting for a deeper and sometimes painful exploration of the human condition. The intensity of these characters becomes palpable, reflecting not only their individual convictions, but also a cycle of conflicts that perpetuates itself over time.

Freire He deals with issues with admirable sensitivity. He avoids the heavy tone, which could easily dominate the narrative, opting for an approach that mixes lightness and depth. This choice allows the viewer to connect with the characters without feeling burdened by the pain they carry — even if they share their pain. Identifying with their struggles becomes a genuinely emotional experience. What could be an intense clash turns into a powerful dialogue, where empathy and understanding are constantly sought, even in the face of disagreements.

Finally, Malu stands out for its ability to capture the essence of human experiences, reminding us that, even in the most tumultuous relationships, the search for connection and understanding is a driving force. It is a film that, with its honest and touching look, invites us to reflect on our own family stories, making it a relevant and exciting work in recent Brazilian cinema.

Rolling Stone Brazil film special

Cinema is the theme of the new printed special from Rolling Stone Brazil. In a magazine dedicated to lovers of the seventh art, we interviewed Francis Ford Coppolawho turns 85 amid the release of his new film, Megalopolisa bold and million-dollar undertaking financed by himself.

Unshakable in the face of controversial reactions to the novelty, which took around 40 years to get off the ground, the filmmaker defends the cinema industry’s boldness in being creative and opens up, in plain Portuguese, about Brazil’s influence in his new film: “Alegria” .

The special also features conversations with Walter Salles, Fernanda Torres and Selton Mello on I’m Still Herea chat about soundtracks with the maestro João Carlos Martinsan exclusive list with the 100 best films in history (50 national, 50 international), another list with the 101 greatest soundtracks in the history of cinema, a warm-up for Oscar 2025 and the release radar of Globoplay, Globo Filmes, O2 Play and O2 Filmes for the coming months.

The movie special Rolling Stone Brazil It hits newsstands in November, but can now be pre-purchased at the Perfil publisher’s store for R$29.90, with shipping starting on November 6th.

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