Along the way, in Caruaru, the movie shows street musicians and a conversation with Silvério Pessoa (former member of the forró band Cascabulho) followed by his performance with Jacinto Silva. It is no surprise that Moro no Brasil spends over 45 minutes in Pernambuco alone. After all, it is here that we have frevo (with Antônio Nóbrega), maracatú (with Mestre Salustiano), forró (with Silvério Pessoa) and côco (with Zé Neguinho do Côco).
Starting with the exploration of Brazil’s musical roots in Pernambuco is a logical and most rewarding first stop. The movie does an excellent job in introducing new audiences to these various genres with testimonials and live performances from various artists. Kaurismäki’s journey mixes samba with forró and funk, Brazil’s north and south, but it never loses its purpose to show a man’s passion for Brazilian music.
The movie is as eclectic as Brazilian music. Such landscape contrast begins Mika Kaurismäki’s movie Moro no Brasil. From the opening scene in Helsinki, Finland, the icy landscape makes room to the countryside of Pernambuco, in Águas Belas, just outside the Indian reservation of the Fulni-Ô.
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