Tapete Vermelho

Amacio Mazzaropi became famous in Brazil in the early 50's for starring films where the typical Brazilian hill-billy was the protagonist. During his long career, that finished in 1981 when he died, his starred (and in many times also produced, wrote and directed) thirty-four films. His accent, costume and funny walk were his trademarks.

In "Tapete Vermelho" Matheus Nachtergaele plays Quinzinho, a hill- billy who decides to leave his small farm with his family and go to town to see a Mazzaropi film. He doesn't know exactly where he is going to see the movie, but he had promised his father he would take his own son to see a Mazzaropi film and is now ready to do it. He believes there must be a Mazzaropi's film playing somewhere. Quinzinho's wife doesn't like the idea of travelling looking for a cinema, but follows him anyway. Their son and donkey complete the team in this search.

In the first town they found no movie theatre, but carry on. During their trip they face many problems and get involved with many different people. The towns they go and the people they see teach them the evils and beauties of the cities, things that will change their lives forever.

Nachtergaele makes Quinzinho a personification of Mazzaropi himself, speaking, dressing and walking like the famous actor. Sometimes we think Mazzaropi came back to life and is working again.

During the film we, the spectators, also learn about life in the country, where people use their own vocabulary, have their typical dances, believe in supernatural things and have a great faith in God.

The films is then an enchanting portrait of the beauty of the simplicity where the countrymen happily live.

Tapete Vermelho is a charming Brazilian road movie that intertwines humor, cultural reflection, and a deep reverence for national cinema. Directed by Luiz Alberto Pereira, the film follows Quinzinho (Matheus Nachtergaele), a devoted father determined to fulfill a promise: to take his son, Neco, to watch a film by the legendary Amácio Mazzaropi in a traditional movie theater. This quest propels the family from their rural homestead into a journey across the countryside, encountering a tapestry of characters and experiences along the way.

Nachtergaele delivers a standout performance, embodying Quinzinho with a blend of earnestness and comedic timing that pays tribute to Mazzaropi's iconic "Jeca" persona. The film skillfully balances lighthearted moments with poignant commentary on the contrasts between rural simplicity and urban modernity, as well as the enduring power of cultural traditions.

Visually, Tapete Vermelho captures the essence of Brazil's interior landscapes, enriching the narrative with authentic settings that reflect the country's diverse heritage. The screenplay, co-written by Pereira and Rosa Nepomuceno, weaves elements of folklore, faith, and familial bonds into a cohesive and engaging story.

In essence, Tapete Vermelho is a heartfelt celebration of Brazilian identity and the timeless influence of cinema. It's a film that resonates with audiences seeking a narrative that honors the past while navigating the complexities of the present.

Very cute film, with various interesting elements put together in a clever way. From the very beginning it is clear that it is a homage to simple people from São Paulo countryside and to old movie comedian icon Mazzaropi, who portrayed them on screen. As a matter of fact, Matheus Nachtergaele, one of the most gifted actors from Brazil, has an impressive performance here in the leading role, incredibly similar to Mazzaropi's. The film is also a homage to cinema in general, as it is a road movie which trip has the goal of going to the movie theater - and several of them have been closed, with the places becoming stores or charismatic churches, what 8s seen critically. It is also surprisingly politically critical, drawing attention to the problem of the land in Brazil: very concentrated in few hands and a lot of violence against those who oppose big landowners' interests. The movie shows the Landless Workers' Movement (MST), the largest social movement in South America, and the violence against their activists, which is often imposed with colaboration of the police and even of the press. However, the most remarkable element that surprised me in this film perhaps lies elsewhere: it is very nice, funny, creepy, and smart the way it portrays faith, folklore, legends, superstitions and so forth, at some moments as fantastic realism. The film was an amusing surprise and worth watching!