"The only possible solution for the time being is the movie, to share, to let know, to shout this barbarism to the four corners of the world, and in the face of the country”. Vincent Carrelli, as leader of a group of filmmakers deeply involved with the drama of the indigenous guaraní-kaiowa people in Mato Grosso do Sul, defines the current situation of the communities as the most dramatic in more than 100 years of conflict with Brazilian government. Martírio is the audiovisual report, backed with archive images of almost forty years of work with the indigenous people, and it´s the voice which unifies these unheard voices by "ethnocide actions”. It’s the cruel synthesis of a conflict without a foreseen solution in the near future, and at the same time, the work that summarizes "years of work as promoter of Indian cultures and filmmaker”.
We talked with Vincent Carelli:
How does the interest in Martírio’s theme originate?
With more than forty years of living and working with indigenous people, anything that involves them is a matter of great concern to me. The case of the indigenous guaraní-kaiowa people genocide is the most dramatic situation of the indigenous reality in contemporary Brazil. The number of homicides grew in an exponential way since 2011. It was then I took the emergency decision of reconnecting with this drama and facing up the challenge of this film.
The quantity and quality of stock footage calls the attention indeed, how was the search and selection of footage to contrast with the contemporary reality and the history told by its own main characters?
We went to look for the origin of indigenous people’s stripping, and it seemed to be a very well documented process, even in official documentation. About the substantive issue, it’s the history of Brazilian state authoritarian relation with indigenous populations and its ethnocide dissolution project for indigenous people in general.
Which were the challenges at the time of shooting?
The challenge was giving testimony of the violent oppression these people suffer day by day, to feel rebellion, outrage, and sadness due to impotence in front of the situation. The only possible action for the time being is the film, to share, inform, shout to the four corners of the world, and in the face of the country, this barbarism.
How was the investigation process to generate a film that treats the issue from a striking depth?
This film is a kind of synthesis of my work as promoter of Indian cultures and filmmaker. I’ve reflected and lived these issues all my life, and this trilogy Martíriobelongs to, along with Corumbiará -2009- and the future Adiós Capitán –in the production stage-, is a balance of the history of the people I´ve lived and got involved with during decades.
Given the recording characteristics, what can you tell us about the experience of filming throughout the years? And what are your feelings when you see that this reality persists as if there’s no way out in the near future.
political situation in Brazil has greatly deteriorated in the last time, and
the future looks so grim for all of us, even more for the indigenous people.
Only Brazilian civil society can do something in favor of them and against this
appalling genocide. Martirio is a resource in front of a seemingly never-ending