Touching on the topic of police violence, award-winning film set in the nation’s capital deals with the topic of racial prejudice

Dj Jamaika (left), Marquim da Tropa and Dino Black, appeared in the cast of the film "Branco sai, preto fica"
Dj Jamaika (left), Marquim da Tropa and Dino Black, appeared in the cast of the film “Branco sai, preto fica”

Note from BW of Brazil: Really hoping that this film becomes available on DVD. Because as many examples of racism that have been presented on this blog (and this is a small fraction when we consider how many reports are made as well as people who never make reports) insults, attacks and discrimination based on the social idea of race is still a topic that people have difficulty admitting much less discussing in Brazil. When people do at least admit that it is a serious problem in Brazil, these same people also want to make it clear that they personally are not racist. It’s always the other person. In reality, stories like these that are often so associated with countries outside of Brazil should be be presented in classrooms, on TV and in film so that people understand that they cannot continue to ignore the issue as if this will make it magically disappear. Much respect to the director who decided to take on the story and make a film about it. Clearly there are probably stories similar to this that happened and continue to happen today all over Brazil that we’ve never heard of. At least with this film, one untold story can be deleted from that list. 

Touching on police violence, film set in Brasília debates racial prejudice

By Mariane Zendron

Scene from "Branco sai. Preto fica"
Scene from “Branco sai. Preto fica”

 The film tells the story of two friends from Ceilândia, one with an amputated leg, and the other, paraplegic, after the truculent police assault at a party in the periphery of the city. In the week that a military policeman has been arrested for the murder of a street vendor in São Paulo and Aranha, the Santos goalkeeper, was booed by a crowd that had already discriminated against him, the new Adirley Queirós film, Branco Sai. Preto Fica, meaning whites out, black stay, aired on Saturday (September 20) at the Festival de Brasília, could not bring a more current discussion.

The starting point of the film, which mixes documentary and science fiction, is an episode that is still in the memory of most residents of Ceilândia, on the periphery of Brasília. On March 5, 1986, police raided the baile black (black dance) Black do Quarentão, a cultural center in the local community, and ordered: “Quem é branco sai. Preto fica!” meaning, “Whoever is white, leave. Blacks stay!”

A scene from "Branco sai, preto fica"
A scene from “Branco sai, preto fica”

Rapper Marquim do Tropa and youth Shockito were among those who had to stay. The first took a shot and, still today, has to get around in a wheelchair. The second was trampled by police cavalry and lost a leg.

In the film, which takes place today in a fictional world created by Adirley, the two play the roles of themselves, living isolated in a besieged periphery, where blacks are forbidden to go to the downtown of Brasília. So they have to falsify passports to gain access to capital of the country, which is governed by white Christians.

The director commented on how his film, from the perspective of a case that happened in ‘86, tackles these questions that remain current. “The film seeks precisely this debate of the racial issue. The Aranha issue is very representative of what this racial prejudice is in Brazil. A front would have to exist to support Aranha, because when the case cools down, he will be repulsed and stereotyped,” says Adirley.


Branco sai. Preto fica, well received by the Festival de Brasília audience.

The full-length film, well applauded by the Cine Brasília audience, opens a range of questions about the reality of the peripheries in Brazil; among them, the distancing of those who live in the slums of Brasília in relation to the capital’s downtown. “The idea of the passport is half of what already happened, because there is no link between Brasília and the periphery. We don’t enjoy the city, we pass through her sightseeing,” said the director, who also grew up in Ceilândia (1)

Marquim, that improvises raps to tell the tragedy, says it was difficult to speak of the story itself. “Everyone likes to talk about others, but no one likes to expose themselves.” In the end, he said he could get into that character, that has a lot of reality, but the fictional story of the film, has a violent plan.

To the extent that the film develops, it becomes more evident the importance of the fiction, which also serves to exorcise the pain and anguish of the past. The final saves a surprise for viewers, worthy of a director who grew up watching violent movies and action. “We also wanted it to be an action film, with shooting, with bombs and I that I could speak badly of others.” Queirós thought about finishing the film in a musical way, with the forró (2) song “Dança do Jumento”, which is a hit in Ceilândia, but opted for a more overwhelming conclusion.

Branco Sai. Preto Fica trailer

Film Branco Sai. Preto Fica wins 11 awards at 47th Festival de Brasília

By Marcelo Brandão

"Branco Sai. Preto Fica" on 11 awards at the 47th Festival de Brasília do Cinema Brasileiro
“Branco Sai. Preto Fica” on 11 awards at the 47th Festival de Brasília do Cinema Brasileiro

No one went to the stage of award of the 47th Festival de Brasília do Cinema Brasileiro (Festival of Brasília of Brazilian Cinema) more than Adirley Queirós, director of Branco Sai.  Preto Sai. There were 11 awards in total, including best actor, for Marquim do Tropa; art direction, besides winning the TV Brasil Award and the most important award of the night, best film by the official jury.

A resident of Ceilândia, Queirós always portrays the city in the movies he does. “I have six films made in Ceilândia in spaces where I live. What motivates me to do film is working with the space where I’m living with friends, people there.” For him, it is important to address social issues in a country that has routinely lived them for decades. “We cannot deny that Brazil is a racist, homophobic and territorialist country. The film deals with this, as I think these questions will always be dealt with. A change in the country doesn’t exist in relation to this. It’s a very serious problem that we have to put in the movies.”

Actor Marquim do Tropa actor looked surprised with the reception of the public. “Generally it’s very difficult for a subject of social criticism to conquer the mind of the crowd.” He celebrated very much his Troféu Candango for best actor, which he won after several obstacles. “Getting here and snagging a bunch of awards is a surprise, because with so many good actors, I managed to stand out being a rookie protagonist. And making the film was a bit difficult for me. I had to put on weight 16 pounds, learn to smoke and let my hair grow in estilo black (afro), when in fact, I was bald.”

Source: UOL CinemaAgência Brasil


1. Ceilândia is an administrative region in the Federal District, Brazil. The region was created by the government in the 1970s to keep people from moving into Brasília and setting up shanty towns (favelas). The root of the name Ceilândia is ‘CEI’ (Centro de Erradicação de Invasões: Squatters Eradication Center). Source

2. Forró is a genre of Brazilian music that originated in Northeastern Brazil. It encompasses various dance styles as well as a number of different musical beats. This music genre has gained widespread popularity in all regions of Brazil. Forró is closely associated with Brazilian June Festivals, which celebrate a number of Christian saints. The most celebrated is Saint John’s (São João) day. Source

About Marques Travae 3747 Articles
Marques Travae. For more on the creator and editor of BLACK WOMEN OF BRAZIL, see the interview here.

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