Trivia

Between 2019 and 2022, during the term of former president Jair Bolsonaro (PL), the deforested area reached 35,193 square kilometers. The size is larger than the states of Sergipe and Alagoas combined. Compared to the previous four years, the increase was almost 150%.

Regarding the choice of characters, Uchida said that for a long time they followed a series of people, and only then, chose those with the best dramatic arc. Even so, many choices were made just on the editing table. The choice of the invaders of indigenous lands recorded in the film involved, for example, the choice not to villainize them. "We don't understand the attackers as the creators of the problem. They are part of the conflict, of a colonial structure that continues to exist", reported Uchida, remembering that the mentality of exploration and conquest is part of the region's culture: "Rondônia has this agenda of colonizing the west, that the forest is nothing . They really feel like they are on the right side of history.", he assessed. Regarding the characters on the indigenous side, the main concern was with security. The indigenous woman Neidinha Bandeira, protagonist of the film, for example, had to be exiled and hidden for three months.

It is a co-production between Uru-eu and Documist, produced by director Alex Pritz, and produced by Nat Geo Docs, with executive production by activist Txai Suruí. Many of its images were created by Bitaté, a young leader who, based on this experience, started using drones to monitor the limits of his territory, recording deforestation and land invasions by illegal land grabbers and miners.

The producer Gabriel Uchida says that the motto of the documentary was to follow the four years of the Bolsonaro government and its already predictable impacts on the region. "It was four years of many misfortunes, things were happening in front of us.", said the producer. For safety reasons, and initially also due to lack of resources, filming was done with teams of no more than three people. "We didn't want to bother the indigenous people or disrupt the dynamics of the villages. We were a team of few people and equipment.", he revealed.

For situations os security of the involved, a protection fund was created for those involved. Any of the characters in the documentary who felt threatened could, and still can, access this fund, and have full support from the film's production team to do so. Furthermore, the Uru-eu-wau-wau indigenous people were co-producers of the film and shared equally the profits from the sale of the documentary to National Geographic.