Director

João Salaviza, Renée Nader Messora

Brazil, Portugal | 2023 | 124 min | Krahô, Portuguese

• Producer João Salaviza, Renée Nader Messora, Ricardo Alves Jr., Julia Alves
• Production Company Karo Filmes
• Screenplay João Salaviza, Renée Nader Messora, Ricardo Alves Jr., Julia Alves
• Cinematography Renée Nader Messora
• Editing Edgar Feldman, João Salaviza, Renée Nader Messora
• Sound
• Cast Ilda Patpro Krahô, Francisco Hỳjnõ Krahô, Solane Tehtikwỳj Krahô, Raene Kôtô Krahô, Débora Sodré, Luzia Cruwakwỳj Krahô and the communities of Pedra Branca, Coprer, Morro Grande
• Contacts

  International Sales: Films Boutique, contact@filmsboutique.com

  www.filmsboutique.com
  

About the Film

In The Buriti Flower, directors João Salaviza and Renée Nader Messora meet again with the Krahô people in the heart of the Brazilian forest.

Blending vérité and fictional narrative styles with collaborative storytelling, the film follows the life of Patpro and her family, navigating three timelines highlighting the history of her tribe.
Patpro emerges as the feminist core of the narrative, keen on representing her people at an indigenous demonstration against the anti conservation policies of the then Bolsonaro administration. The film portrays not only the struggle against external threats but also reveals generational and ideological rifts within the community regarding their approach to activism.

Woven through this complex narrative is the heart-wrenching reenactment of a brutal 1940 massacre. Insertion of this tragedy into contemporary scenes is a poignant reminder of the ancestral pain and the persistent threat that hovers over the Krahô people. We see the lasting influence of this hereditary anxiety in the fearful dreams of Patpro’s young daughter.

Through DP Messora’s artful 16mm cinematography, the film powerfully expresses the essence of Krahô
culture, from rituals of birth, coming-of-age, and death, to children’s play, all in the context of the tribe's deep connection to the land. Without venturing into exoticism, the film portrays a full and authentic picture of a vital and resilient culture which persists and thrives through daily, personal acts of survival.

The Buriti Flower is a welcome antidote against views of indigenous cultures still influenced by the colonialist past, offering an immersive exploration of the Krahô’s intricate worldview, a deeper understanding of their living traditions and fight for justice and the preservation of their land. It stands as a remarkable testament to community collaboration in filmmaking, with an ensemble prize awarded at Cannes reflecting the collective spirit imbued in its creation. It doesn’t just tell a story; it invites viewers to witness a rich, existing, vibrant world through a lens crafted by the people themselves.

Nicole Guillemet