The Secret Agent”: Memory, Belonging, and Brazil Seen from Afar

Having lived in Italy for the past four years, first in Turin and now in Conegliano—a tranquil town surrounded by vineyards and ancient rocks—I’ve gained a profound understanding of my Brazilian identity. Living abroad often sharpens one’s perspective on their home country. Brazil hasn’t disappeared; instead, its essence has become more vivid. Even familiar music resonates differently, and watching a film by Kleber Mendonça Filho evokes a stronger response than it would back home. Despite my Italian roots, which create a deep-seated connection to Brazil, I remain struck by how completely Brazil envelops me, even from a distance. The people, the happiness, the lifestyle, the unique vibe—it’s unmatched. This feeling doesn’t diminish; it only intensifies. Attending the world premiere of Mendonça Filho’s The Secret Agent at Cannes proved to be a surprisingly powerful experience, particularly in my current context. The raw portrayal of the 1970s—the subtle violence, the ever-present fear, the racial prejudice—felt acutely familiar. While I didn’t live through that period, Brazil instilled in me a recognition of these elements, and living abroad has only heightened that awareness.

Italian Emotions: A Distant Brazil in Mendonça Filho’s The Secret Agent

Watching The Secret Agent in Italy evoked a deeply emotional response, stirring feelings of nostalgia, longing, and pride, amplified by my Brazilian identity and distance from home. Perhaps this is the enduring quality of Mendonça Filho’s films: preserving memories and inviting viewers to confront Brazil’s realities, even those aspects often ignored. Ultimately, living outside Brazil has offered a renewed appreciation for its complexities, yet the sensory memories of ’77—the colors, the smells, the cars, the atmosphere—remain as vibrant as ever.

In Case You Missed It

In our ongoing exploration of cinema’s role in navigating political landscapes, we invite you to delve into Jonathan Dubinski’s insightful analysis of the visual aesthetics of Kleber Mendonça Filho’s “The Secret Agent” and Paul Thomas Anderson’s “A Punch-Drunk Love”, highlighting their distinct approaches to memory, humor, and historical construction. Published on March 21, 2026, you can find this captivating piece here The Political Dialogue That Unites ‘The Secret Agent’ and ‘One Battle After Another. Meanwhile, in a recent turn of events, Remedy Entertainment has bid farewell to their active support for the action-packed game, Firebreak. Author Marcus Thompson sheds light on this shift and Remedy’s strategic moves to keep Firebreak accessible and affordable in his blog post published on March 19th, 2026. With a price drop and the introduction of ‘The Friend Pass’, find out more about these changes here Remedy Discontinues Service Support for Game Firebreak. Speaking of intense experiences, Wagner Moura recently opened up about his first Oscar run in Ahmed Hassan’s latest piece. Published on March 17th, the actor shares his insights into the whirlwind of awards season while promoting ‘The Secret Agent’. If you’re curious to find out more about his journey and thoughts on the experience, give it a read right here Wagner Moura Says He’s ‘Relieved’ After Oscars End.