Book, Cinema errante, O[LS]

The author brings together in O Cinema Errante three essays on Alberto Cavalcanti, David Perlov and Glauber Rocha, self-exiled filmmakers from Brazil who have in common an affirmation of symbolic or real identity - Jewish. Perlov had a vision of the praxis of cinema when he witnessed, in São Paulo, a filming of Cavalcanti, with whom he would later form a friendship, already as a filmmaker in Israel, when he was filming a documentary about Theodor Herzl. Despite this proximity, Perlov opted for an antagonistic path to that of Cavalcanti, composing a cine-diary work and introducing into Israeli culture the third-world concept of a camera in the hand and an idea in the head, which Glauber would later launch against Hollywoodian Vera Cruz. Cavalcanti, disillusioned with Brazil and disagreeing with this way of making cinema, retaliated, criticizing Glauber's films and his whirling bandits shouting in the backlands. The more mature Perlov ended up contesting revolutionary cinema, while Glauber reviewed the terrorist positions of the Aesthetics of Hunger in the Aesthetics of Dream and restored Cavalcanti to his rightful place, which he had denied when he affirmed the revolution of Cinema Novo.