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A combatant capable of claiming to have seen the face of death, and returned with the contradiction of finding it a “waste,” even if it simulates a “triangle of light, of total pleasure.” One of Cazuza’s facets is this, represented in the documentary CAZUZA: GOOD NEWSsigned by Nilo Romero and Roberto Moret, newly released in theaters.
Cazuza: Boas Novas – (Credit: Disclosure)
Important for the movie, the show O Tempo does not stop (directed by Ney Matogrosso), reveals, as Ney says, a Cazuza “naked against Brazil”. Hence, Ney chose to reveal, along with a white light (which caused the effect of Cazuza being stuck to a cross), the artist’s weakened structure that, as they spelled newspaper headlines, was “the rebellious poet of the 80s”, a “warrior” deserving “rest” after sharpening the critical instincts of a “generation.”
Author of compositions like tODO LOVE THERE IS IN THIS LIFE (with Frejat); Ritual; Blues of Piety(Written in hospital bed) and CObaiah of God (Beside Angela Ro Ro), Cazuza responded, at the end of the 1980s, by shows, eventually, “dark”, but in which people “transcended”, as an interviewee of the film points out.
Flated by death that, as he sang, saw her “Viva”, Cazuza, now a memory in the film, continues to bring together a different confraria: from João Rebouças (bourgeois producer) to filmmaker Nilo (musician, producer and director); Passing through Frejat, George Israel and Leo Jaime, not to mention his mother, Lucinha Araújo. Hospitalizations, delusions, insults, tensions, lovingness, dissolution of the bourgeoisie and reconstructions of ideals: it is all in the new documentary.
CAZUZA: GOOD NEWS Dissects points such as the shock caused on the Red Baron’s exit, examines the sensation of the press, exposes the agony of friends, in the face of the disease, and does not escape reports of controversy and love flames with Ney Matogrosso.
Between tears of emotions, Leo Jaime (defender of the “samba-shaped bolero”) is to end up to endorse idolatry, in common with Cazuza, by the peculiar samba song (pointed out by Gilberto Gil), and delivery: “(Cazuza) via the samba-samba not as an elbow pain, but yes, exposed fracture of elbow”. It was like this, exaggerated, that left in 1990 at the age of 32.
