This article was provided by Brazilian actor, comedian, writer, and theatre, film, and television director Bemvindo Pereira de Sequeira

As Brazilian films receive nominations for prestigious cinema awards, it is essential to revisit the origins of Brazilian cinema.

The history of Brazilian cinema began in the late 19th century, following the invention of the cinematograph by the Lumiere brothers in France in 1895. The pioneers of national cinema were Paschoal and Affonso Segreto, of Italian descent. Returning from a European journey on 19 June 1898, Affonso filmed scenes of Guanabara Bay in Rio de Janeiro. These recordings are considered the first ever made in Brazil. The Segreto brothers also opened cinemas across the country, contributing to the popularisation of this new art form in the early 20th century.

The first Brazilian feature film was “O Crime dos Banhados” (The Crime in the Marshes), directed by Francisco Santos in 1914. This film laid the foundation for the formation of a national cinematic tradition. It was a crime drama based on a real-life murder case in the state of Rio Grande do Sul. The film depicted a mysterious crime that shocked the local population. Unfortunately, no copies of this film have survived, and it is considered lost.

Another significant work by this director was the 1915 film “Inocência” (Innocence), an adaptation of the novel by writer Alfredo d’Escragnolle Taunay. Both of Santos’ films played a crucial role in shaping Brazil’s cinematic art.

In the 1920s, Brazilian cinema gained recognition thanks to outstanding filmmakers:

Humberto Mauro, regarded as one of Brazil’s greatest directors, created films such as “Tesouro Perdido” (Lost Treasure, 1927) and “Brasa Dormida” (Sleeping Ember, 1928), which became landmark works of the era.

Jose Medina, in 1919, produced “Exemplo Regenerador” (Regeneration Model), considered the first feature film made in Sao Paulo. This drama addressed social issues of the time, telling the story of a young man who succumbed to vice but found moral and spiritual redemption through his family’s support.

Luiz de Barros, in 1929, released “Acabaram-se os Otários” (No More Idiots), considered Brazil’s first sound film. This comedy followed three provincial men who travel to Sao Paulo and fall victim to a swindler.

Gilberto Rossi made significant contributions to Brazilian cinema, introducing innovations that helped strengthen the cultural identity of the nation’s audiovisual arts.

Adhemar Gonzaga began his career as a film critic and producer before becoming one of the key advocates of Brazilian cinema. In 1930, Gonzaga founded one of the country’s largest film studios.

The 1930s saw even greater developments in Brazilian cinema. During this period, films that achieved great popularity emerged, including “Limite” (1931), directed by Mario Peixoto, which is considered a major milestone in Brazilian film history, and musical films featuring the singer and dancer Carmen Miranda.

Reflecting on these historical milestones reaffirms not only our pride in the legacy of Brazil’s cinematic pioneers but also the importance of preserving and promoting our film culture. Each stage, each film, and each initiative has played a role in shaping a path that inspires the present and illuminates the future of audiovisual arts in our country.

Thank you for joining me on this fascinating journey through the history of Brazilian cinema. Just as cultural exchange with Russian cinema and other art forms unites and enriches us, I look forward to our next meeting, where we will continue sharing compelling stories that define our cultural identity.

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