‘The Secret Agent’ Review: Wagner Moura Makes a Stunning Return to Brazilian Cinema in Kleber Mendonça Filho’s Masterful Period Political Thriller

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A whimsical vein of absurdity permeates the novel “The Secret Agent” (O Agente Secreto), weaving in a local urban myth about a “hairy leg” that mysteriously moves on its own, causing chaos in Recife, the northeastern Brazilian capital, during 1977 when the nation was still under military rule. The leg surfaces or is referenced at different points — found within the grimy entrails of a massive shark corpse; stolen from the morgue and secretly discarded by corrupt police tampering with evidence; blamed for crimes in sensational tabloid headlines; and even physically attacking individuals in a gay cruising area, where men were having sex under trees or on park benches.

The misfit appendage symbolically represents the oppressive actions of the regime against various marginalized groups, such as the LGBTQ+ community, marijuana users, and people with long hair, who might be unfairly labeled as communists. This whole scenario is masterfully crafted into a humorous sequence, commencing with the visually appealing image of plump capybaras feeding in a darkened field, followed by the park where the open-air flirtatiousness is suddenly disrupted when the out-of-place limb takes center stage.

The plot isn’t what you’d typically find in a political thriller about a widowed father facing danger, but it’s this unexpected blend of anarchic humor and genuine suspense that makes Kleber Mendonça Filho’s latest movie so uniquely exciting.

Additionally, there’s a cat with two faces joined on one body, a woman seemingly possessed by supernatural forces as she exits a theater showing the film “The Omen”, another man calmly enjoying a passionate kiss in the same theater while poor Lee Remick is struck by her child who is portrayed as the Antichrist. A young child is overly fascinated with “Jaws” and experiences nightmares, yet he’s too young to watch the 14-rated movie. Moreover, a shark theme can be found in an old black-and-white episode of “Popeye”.

By the way, the story unfolds during the vibrant week of Carnival, filled with countless revelers and an atmosphere thick with music. Yet, even this overwhelming joy can’t evade the grim reminder of mortality. Towards the end of the movie, a newspaper headline proclaims “Carnival Death Toll: 91,” as it is placed upon the motionless face of a hired gun in a pool of blood on a barber shop floor.

The enchantment of the movie lies in seamlessly blending seemingly mismatched aspects into a cohesive whole, all while preserving the suspense and maintaining the high-stakes for the main character, previously introduced as Marcelo. Walter Moura breathes life into this role with his expressive eyes and an air of sorrow, making a remarkable comeback to Brazilian film after a prolonged absence. Mendonça Filho transforms him from a good actor into a cinematic icon.

Regardless of its comical elements and quirky characters, “The Secret Agent” is a profoundly somber film that delves into a troubling chapter of Brazil’s history. During this period, numerous individuals vanished without trace, hitmen negotiated their fees, and even cities far from the epicenter of the dictatorship were not immune to its influence. It shares themes with, yet stands apart from, Walter Salles’ Oscar-winning film from last year, “I’m Still Here,” which primarily unfolds in Rio during the early ’70s.

Mendonça Filho’s unique ability to delve into Brazil’s intricate sociopolitical landscapes was evident in films such as “Neighboring Sounds”, “Aquarius”, and most notably, “Bacarau”. In “Bacarau”, he presents an anti-colonialist Western narrative where UFOs linger above a secluded village that has mysteriously vanished from maps. This latest work is his most powerful yet and cements his place among the world’s leading contemporary filmmakers.

The documentary titled “Pictures of Ghosts,” released in 2023, serves as a companion piece to “The Secret Agent” now. It revolves around the director’s childhood home in Recife and the once-vibrant movie theaters that played a pivotal role in his life and career. The seven years he spent creating this film while delving into city archives significantly contributed to the genesis of the current movie we are discussing.

The story begins as Marcelo stops at a remote gas station in his sunlit yellow VW. There, to his shock, he finds a corpse half-hidden under a piece of cardboard on the gravel. He discovers that the man was fatally shot by the night attendant during an attempted robbery. Unfortunately, with Carnival in full swing, the police are occupied and unable to arrive, though the putrid smell is drawing stray dogs.

However, two officers arrive on scene, seemingly indifferent to the body. One of them, instead, conducts a thorough examination of Marcelo’s documents and vehicle, searching for evidence of drugs, weapons, or any illegal activity. Finding none, this officer extends his hand to request a police fund contribution.

The scene suggests that Marcelo is already under the watchful eye of the authorities, which explains his immediate need to resolve matters upon reaching Recife and depart swiftly. In this city, the unofficial mayor, 77-year-old Dona Sebastiana (played brilliantly by Tânia Maria), assists Marcelo by offering him an apartment, a wad of money, and details for a connection who can arrange false identities for Marcelo and his son.

While Marcelo is away, his late wife’s parents have been looking after their grandson Enzo Nunes (Fernando). Alexandre, Marcelo’s father-in-law and portrayed by Carlos Francisco, is one of a few endearing characters, alongside talkative Dona Sebastiana (who historically represents the patron saint of death), that lend a sense of buoyancy to the film. This uplifting quality serves as a lovely contrast to the pervasive fear that fuels the narrative. Alexandre can be found working at one of the movie theaters revisited in “Pictures of Ghosts“, where scenes set within the projection booth, along with posters in the lobby and outside, offer a heartwarming reminder of the deep affection for cinema that was so captivating in the documentary.

It’s not immediately apparent that Marcelo (originally known as Armando) had a rival in Ghirotti, a corrupt federal officer from Sao Paolo, who deprived Marcelo’s university research department of public funding. Later on, Ghirotti patronizingly instructed Marcelo’s team to concentrate on projects relevant to local industries, such as tanning leather, while they should leave advanced technological innovations like lithium batteries for the experts in the southern cities. However, this didn’t sit well with Marcelo since he had already patented lithium batteries.

At an awkward dinner, Ghirotti became intoxicated and belittled the research team from Recife. However, Marcelo kept his cool despite the provocation. Yet, Fatima (Alice Carvalho) couldn’t contain her frustration, which escalated into a heated verbal exchange that eventually led to a physical altercation. Marcelo had told Fernando that Fatima died due to pneumonia, but there’s a lingering suspicion that Ghirotti may have been involved in her untimely demise.

In the movie, Mendonça Filho intensifies the suspense and showcases his exceptional genre skills when Marcelo is on edge, waiting for Elza (played by Maria Fernanda Candido), a resistance facilitator, to deliver their fake passports. Meanwhile, Ghirotti’s hired guns, Augusto (Roney Villela) and Bobby (Gabriel Leone), show up in town, hot on Marcelo’s trail.

1. In the lengthy scene, the murderers inexorably approach Marcelo, creating an atmosphere reminiscent of a Hitchcock thriller, with tension tightly coiled like a spring. The dissonance between this tense silence and the boisterous Carnival music only serves to intensify the torment.

2. One of Mendonça Filho’s most audacious maneuvers is to unfold Marcelo/Armando’s ending by means of a present-day researcher in Sao Paolo named Flavia (Laura Lufesi). She delves into archived audio tapes of bugged conversations and newspaper articles from the period, uncovering what eventually happened to him.

Instead of leaving us unsatisfied by not providing a conclusion, it leads to an emotionally impactful one as Flavia journeys to Recife where she meets the grown-up Fernando (once again portrayed by Moura), who manages a blood bank now. Remarkably, this medical center stands on the site of a ghostly movie theater.

In this 2 hour and 40-minute movie, carefully selected music sets the beat for most of the scenes, ensuring it never feels slow. The score by Tomaz Alves Souza and Mateus Alves is rich with enigmatic and poignant passages, blending seamlessly with a diverse soundtrack that spans from lively Carnival tunes to popular hits such as “If You Leave Me Now” by Chicago and “Love To Love You Baby” by Donna Summer. Additionally, the movie features classic Brazilian songs of the era, including one heartfelt ballad that Marcelo plays on his stereo upon moving into his Recife apartment, adding depth to the emotional journey of his homecoming.

Filmed using Panavision anamorphic lenses and boasting the rich, slightly saturated colors reminiscent of vintage film stock, this movie is visually stunning. Each scene brims with intriguing details, a testament to the skillful work of cinematographer Thales Junqueira and costume designer Rita Azevedo.

The film, brimming with a multitude of characters reminiscent of an Altman-style cast – far too many to list here – is superbly acted without a hint of inauthenticity. It also conveys a powerful sense of unity among its inhabitants banding together for mutual protection against external threats. The movie immerses us deeply in its atmosphere and locale, which clearly reflects Mendonça Filho’s profound affection for the location. This is an outstanding piece of cinema and I believe it will be among the top films of the year.

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2025-05-18 23:25