As you're saying it, I can see them all in Dona Flor, especially the neorealism and the slower pace of John Ford.īARRETO: Yeah. And I even dedicated one of my films, Bossanova , to Truffaut. Pietro Germi in my opinion was a genius, you know?Īnd of course, then the nouvelle vague with Francois Truffaut. Seduced and Abandoned, Il Ferroviere-I forget what the title in English is- Divorce, Italian Style. A Face in the Crowd, On the Waterfront- such a masterpiece.Īnd then the Italian neorealism. Almost all films by Pietro Germi. But I was completely drawn into it, you know? I was emotionally engaged.Īnd of course, you know, East of Eden, Splendor in the Grass, most of Elia Kazan's movies. It kept me interested, but it wasn't fast-paced. At the same time, the poetry the shots, the depth of field, the heavy clouds, the cinematography, the pace. My Darling Clementine, John Ford's masterpiece, was something that really made a huge impact on me.īARRETO: I mean, the story itself. The realism. RICO GAGLIANO: Tell me about the first film you remember having an impact on you, andīRUNO BARRETO: Well, I was very impressed always by American cinema.
To listen to the episode and subscribe on your preferred podcast app, click here. Barreto goes beyond the conversation featured in episode 3 and discusses his love for John Ford, Pietro Germi and Francois Truffaut and shares more behind-the-scenes details about the making of Dona Flor.
The MUBI Podcast returns with a look at Dona Flor and Her Two Husbands, a film that nearly beat Jaws at the Brazilian box office and turned Sonia Braga from national star to national deity.īelow, host Rico Gagliano interviews the film’s director Bruno Barreto.
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