In Bahia, in the late 60's, the alienated college student Lula (Antônio Luiz Martins) spends his time protesting in the university, but without political orientation, wandering on the streets, smoking grass, trying to be an actor and having sex. Meanwhile, a common young man stalks women on the streets trying to have intercourse with them.
In the late 60's, Brazil was under the "Tropicalismo" movement and Brazilian cinema was divided in practically two great waves: the "Cinema Novo" ("New Cinema") and the "Cinema Marginal" ("Marginal Cinema"). A third group of independent filmmakers did not approach to these currents, making an experimental cinema based on the popular. "Meteorango Kid, Herói Galático" is one of these movies, full of symbols. In 1969, Brazil was living the tougher moment of the military dictatorship, and Lula represents the next generation, confused (shown in the beginning, with the camera spinning randomly), without identity, alienated, "neither Leninist nor Marxist", smoking grass, not being a martyr and trying to find his spot (in the very beginning and in the very end). There is a rejection to the present cinema ("Novo" and "Marginal"), when Lula looks to the camera in his room and says: "- No". The popular hero is represented by the boned Tarzan. The "vampire" represents also the ordinary man. There is homage to the "Tropicalismo", which was born in Bahia, for example with the picture and the speech of Caetano Veloso in one festival and the soundtrack with Moraes (Moreira) and Paulinho ("Boca de Cantor"). Unfortunately, all of these information are presented in a messy and practically senseless screenplay, and in the end this flick is awfully dated and silly. My vote is one.
Title (Brazil): "Meteorango Kid, Herói Galático" ("Meteorango Kid, Galactic Hero")
