In his 2023 essay movie “Photos of Ghosts,” a haunted cine-memoir that makes use of Recife’s once-glorious film palaces as a lens by which to look at — and to mourn — the cultural amnesia of a rustic so decided to neglect itself, Brazilian auteur Kleber Mendonça Filho considerably counterintuitively observes that “Fiction movies are the very best documentaries.” If Filho needed to make a documentary to be able to illustrate that concept, the sober however gripping thriller that it impressed him to shoot subsequent proves the purpose with gusto.
Born from the method of researching “Photos of Ghosts” (a undeniable fact that turns into rewardingly self-evident over the course of its 158-minute runtime), “The Secret Agent” recreates 1977 Recife with much more vivid element than Filho’s documentary was in a position to restore his childhood imaginative and prescient of the town by archival video and images alone. Targeted however sprawling, the director’s first true interval piece is completely teeming with the music, coloration, and magnificence of the “Brazilian Miracle” that marked the peak of the nation’s navy dictatorship, and but all of these signifiers — together with most direct proof of the navy dictatorship itself — are sublimated into the film’s pervasive sense of mischief.
That’s the phrase Filho makes use of to determine the time interval within the movie’s opening title card, and it precisely units the scene for a narrative much less rooted within the terror of Walter Salles’ “I’m Nonetheless Right here” than within the wistful barbarity of Wes Anderson’s “The Grand Budapest Resort.” After all, these motion pictures each hinge on the tragic poignancy of their stolen pasts, and this one does too — however slowly, and with a a lot softer method to the way in which that reminiscence persists regardless of the gangsters who would possibly work to erase it.
Removed from the high-octane spy image that is perhaps steered by its title (a title that’s straightforward to think about written in large letters throughout the marquee of Recife’s São Luiz Cinema), “The Secret Agent” solely bumps into espionage tropes as if by chance, and its protagonist appears to be as confused by them as we’re. Filho’s film operates on the tempo and tenor of a drama in exile, albeit one which’s fringed with B-movie enjoyable and stalked by a pair of unscrupulous hitmen.
The movie’s story begins in media res, and whereas the plot couldn’t be simpler to comply with, it fittingly requires the viewers to earn each morsel of the context they’ll want to understand its energy. A middle-aged man who marries the quiet confidence of a cowboy with the “I don’t need any hassle, right here” demeanor of an additional who simply desires to outlive the trigger-happy Western round him, Marcelo may be an anti-military Communist, however he may simply as simply be a tech researcher who has private enterprise in Recife.
That duality is on the coronary heart of Wagner Moura’s deceptively recessive lead efficiency — a efficiency that Filho mines for its errant sense of thriller from the film’s opening scene, during which Marcelo easy talks a grimy cop at a freeway gasoline station the place a corpse has been rotting within the solar for a number of days. “I’m virtually getting used to this shit,” the station proprietor spits, alarmed at how briskly he’s adjusted to the fact of doing no matter enterprise he can with a dog-eaten physique mendacity subsequent to the pump. Change comes quick in Filho’s Brazil, and it’s arduous guilty individuals for doing their finest to roll with the punches.
Marcelo ultimately arrives in Recife on the peak of Carnival (“91 Lifeless!” the newspapers exclaim, with lots extra to return), the place he strikes into an house complicated run by a feisty 77-year-old lady who shelters dissidents in want of a spot to remain as they search for a method overseas. The area additionally offers a house to the mother and father of Marcelo’s late spouse, and to the younger son they shared earlier than she died. It even comes with a covert job of types, although we be taught little or no in regards to the specifics of the counterintelligence community that lands Marcelo a gig on the authorities workplace that mints authorities identification playing cards. (Sure vagaries are important to this movie about filling within the blanks, whereas others merely chip away at our understanding of what’s at stake.)
It’s additionally the constructing whose archives would possibly comprise the one documented proof that his mom — disappeared from the Earth lengthy earlier than this story begins — ever existed within the first place, and Marcelo is set to seek out it earlier than he makes a break for the border. Alas, time will likely be of the essence right here, as a bureaucrat who Marcelo crossed up north has dispatched a pair of contract killers to “shoot a gap into his mouth.” And in the event that they don’t get him, Recife’s shit-eating chief of police (Roberio Diogenes as Euclides) and his fascist deputies most likely will, although he takes a shine to Marcelo that would show helpful in a pinch.
Together with Marcelo and his child, all three of the movie’s rival factions are father-son groups, a selection that highlights Filho’s mild emphasis on the connection between lineage and id — and the defiant notion that historical past is as arduous to erase as DNA. “Can I see my blood?” somebody asks whereas within the strategy of getting it drawn, a easy apart that captures a lot of what Marcelo is hoping to perform on this story, to say nothing of what has motivated Filho, whose mom was a historian, to excavate the recollections of his hometown in movies like “Neighboring Sounds” and “Aquarius.”
“The Secret Agent” doesn’t actually tie a bow on that motif till the ultimate minutes, that are set inside one of many jarringly sterile flash-forwards which can be littered throughout this story, however Filho tends to favor crisp texture over clear point-scoring (as followers of his extra enjoyable and anarchic “Bacurau” may attest), and this vibrant reminiscence palace of a film isn’t in a lot of a rush to get to its punchline. That’s principally to its profit, because the film — all the time compelling, however typically extra sedate than its materials calls for — is commonly at its most alive throughout its detours.
A scene that includes an agitated Udo Kier as a bullet-scarred Jewish tailor stands out for the distinction it attracts between the permanence of scars and the mutability of the conclusions that individuals draw from them, whereas a loaded subplot a couple of disembodied leg evolves from a literary gadget to a full-blown Quentin Dupieux gag as Filho makes use of it to kick a gap into the fence between terrible details and concrete legends. We additionally meet a cat with two heads, however I can’t fake to have a transparent learn on the that means behind that simply but.
The cat-and-mouse chase that’s fueling the plot does boil over right into a gnarly shootout (Filho’s method to gore continues to be a factor of magnificence), however, to the potential disappointment of anybody hoping for an additional hit of that “Bacurau” excessive, “The Secret Agent” is constantly much less fascinated by motion than consequence, and fewer fascinated by scene than surroundings. You possibly can really feel the filmmaker’s dream-come-true ecstasy at having the ability to recreate the golden age of Recife’s cinemas, which backdrop a number of key moments and tee up a recurring obsession with “Jaws.” Ditto the enjoyment he will get from rendering the town’s streets in magnificent widescreen, and filling them with punch-buggies, bell-bottoms, and so many nice Tropicália-accented songs that the critic sitting subsequent to me spent the whole film Shazam-ing each scene. I clearly stabbed him to dying with my pen at a sure level, however I made positive to steal his telephone for reference when the screening was over.
That pleasure is contagious sufficient to feed into the bittersweet story Filho wrote as a conduit for it, and to deepen the last word affect of its argument that motion pictures can manufacture a significant historical past of their very own — one highly effective sufficient to chop by the erosion of reality, and the official report of a rustic that is perhaps too ashamed of its personal reflection to actually look itself within the mirror. With “The Secret Agent,” Filho exhumes the previous as the idea for a purely fictional story, and in doing so articulates how fiction might be much more beneficial as a car for reality than it’s as a software for masking it up.
Grade: B+
“The Secret Agent” premiered in Competitors on the 2025 Cannes Movie Competition. It’s at present searching for U.S. distribution.
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