“Dog Theft”a new film from Estúdios Globo, premieres in the Telecine catalog this Saturday (1st), at 10pm.
Written by Juan Jullianname behind productions such as “Reincarnate” e “Mistress of Me”the plot follows Luciana, a nine-year-old girl who faces a series of difficulties in fitting in at school since moving to Rio de Janeiro. However, his life changes completely when he finds a Chihuahua abandoned on the streets.
“The film was born from the desire to tell a story for the whole family, with the face of Brazil. I wanted to create a film in which our children recognized themselves as protagonists, living adventures that dialogue with our culture and daily life”, says the author to CNN.
Fascinated by the franchise since childhood, the idea was to revive the sense of adventure linked to the feeling of fun and affection. “Here we have the brilliant Dandara Arcebispo as the protagonist, the heat of the north of Rio, the train tracks and the walls with broken glass”, he says.
“I wanted to translate this feeling we have with our pets. Especially post-pandemic, pets were fundamental to our mental and emotional health”, adds Juan, who also classifies himself as a pet father, as he is Mirna’s guardian.
In the film, when videos of the dog go viral on the networks, transforming her into a true celebrity, her fame catches the attention of Cristal, Aurora’s spoiled daughter, who tends to use her mother’s grandeur to get everything she wants – including the dog.
According to Juan, one of the first scenes was, in fact, inspired by an episode that served as a trigger for the initial idea of the script. “I was walking with Mirna in Copacabana when I was approached by a stranger who offered me money to take her. I was shocked, I refused and he continued to increase the financial offer. I was shocked by the absurdity of the situation. From then on I began to reflect on this relationship of affection with animals, the genuine bond we create with them”, he comments.
Author reveals reason for a Chihuahua as protagonist
Far beyond the references in the dog itself, the choice for the Chihuahua went further. According to Juan, race is an analogy with the essence of the film. “Chihuahuas are the smallest breed in the world, and Luciana, our protagonist, is a small girl, for whom the world also seems like a huge and scary place. How could these two characters, apparently fragile and harmless, face a pair of bandits?”, he asks.
“The breed still has a graceful strangeness that goes very well with the tone of the film. Look at a Chihuahua and Disney’s Stitch, there is something similar there, a mix of cuteness and strangeness that is irresistible. So the size and characteristics of the dog were fundamental to the narrative”, he adds.
Until they found Rita Lee’s interpreter, the process was challenging. “Chihuahuas are not known for being easy to train, but luckily we found Liu, who brought exactly what we needed. She even had two canine stunt doubles on set,” he recalls.
The balance between comedy and the bond between children and pets
Another highlight of the title is the humorous tone that does not take away space from the genuine relationship between the girl and the dog.
“The connection between Luciana and Rita Lee, between human and dog, is the heart of Robo do Cão. Luciana is a lonely girl, she moved from São Paulo to Rio in the middle of the school year and has difficulty making friends. Rita Lee is a street dog, she doesn’t have a home, she’s hungry, dirty. They are two little creatures alone in this big world. When they meet for the first time, they both have the same need: a friend”, says Jullian.
“I consider the existence of the film a great achievement. When I grew up, all my mainstream references to children’s adventures were led by white American children. Completely different from me, I didn’t see myself in that space of protagonism. In a way, we are hijacking these stories and showing that they can have our style: Brazilian, pop and diverse”, he says.
Names such as Luisa Perissé, Fabiula Nascimento, David Junior, Luellem de Castro and Louise Cardoso also feature in the cast.
Cinema in Brazil is still far from the outskirts.
About to sign the first solo soap opera on TV Globo, Juan reflects on the historic and beautiful moment that national cinema is experiencing. Although the growth is clear, it highlights what is missing for this increase to be more significant and capable of leaving the “bubble”.
“We need the market to look more at black authors, from the periphery and queer. We need to title our stories and have creative freedom to tell them. Cinema in Brazil is still far from the outskirts. I am the son of a Kombi driver, the grandson of a cleaning lady. When I was growing up and dreaming of writing stories, it seemed impossible to access these spaces of authorship. A lot has changed in the last decade, but we are still the exception in terms of leadership and decision-making. The world needs plurality to remain relevant”, he concludes.
