The filmmaker Petra Costa, author of the celebrated “Democracy in Vertigo”, concluded her new movie. It is called “Revelation in Tropics” and deals with the growth of evangelical churches, giving in in Bolsonarism, to slide in the electoral defeat of 2022 and in.
Brazil has gone through apocalyptic moments and goes well, thanks. The feature film opens in Rio and São Paulo on July 3.
In the same style contained as his previous movie, Petra recalled days that today seem forgotten and are encapsulated in process volumes about the 2023/2024 coup plots.
In them, apocalyptic projects such as the yellow green dagger plane end up reduced to fanfare of palace generals. With the collaboration of, were interviewed evangelical leaders, such as the pastor.
Strange as it may seem, the best explanation for the growth of evangelical churches came from. The latest QUEST survey revealed that in this segment the rate reached 66%. (Among Catholics failure is 53%.)
In 1980 evangelicals were 5% of the Brazilian population. Today they exceed 30%. Ugly and irrational, Brazil of “apocalypse in the tropics” seems to have passed. Petra Costa revisits the days of the pandemic, when the country had a president who normalized death and doubted the effectiveness of vaccines.
As in “Democracy in Vertigo”, “Revelation in Tropics” shows a challenged and defeated government. In one case, who was in the palace was. In the other, with its catastrophist incitements.
Petra Costa was happy in the parallel find with an apocalypse that threatens, but is not enough.
The film does not deal with the government of Lula 3.0, but anyone who see it can fulfill the merit of having returned Brazil to a relative normality. Here and there are crises like the robberies of the IOF, but the apocalyptic language is gone away. Armored by the Navy burning oil as they paraded in Brasilia show a country thrown into artificial crises for nothing.
Anyone who see “Revelation in the tropics” will receive the grace of being able to repeat the farewell of Manuel Flag of Beco da Lapa, where he lived with his sorrows and perplexities: “Goodbye to never again.”
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