“Anchored by an incredible performance and filled with heart and soul, as well as an abundance of beautiful traditions.”

The sun always seems to shine brightest in the place we call home – or at least, this is what those nostalgic for their native land tend to believe. Marcelo Botta, an ambitious young filmmaker who has steadily risen as a fascinating voice in contemporary Brazilian cinema, examines this subject in Betânia, his solo directorial debut. The film tells the story of two entities known as ‘Betânia’ – one is a small village tucked away in the Brazilian countryside, while the other is an elderly woman who was born in the village that bears her name, and who baulks at any suggestion that she should leave to find a better life in a more developed part of the country. The film follows the protagonist as she navigates various challenges such as the death of her husband, the pressure asserted on her by friends and family to seek refuge elsewhere, and her own crises of identity that she overcomes through the well-weathered resilience she has acquired over the years. A beautiful and often quite funny film that takes a very simple approach to some complex themes, Betânia is an incredible piece of storytelling that offers charming insights into the life of someone fiercely dedicated to her independence.

The director evidently had a profound fascination with the idea of exploring traditions in relation to modernity, which is a common theme that arises in any film that centres on rural life in some way, particularly those that relate to the cultural bonds we form with certain places. Botta had many options in terms of narrative avenues in which he could take this film, and there is certainly an abundance of themes already woven into the narrative that he chooses not to pursue, instead electing to craft a far more simple story. It may seem complex at times, especially when it starts to deviate from the central premise in the third act, but it nonetheless circles back to the main plot, enriching and complementing its already fascinating ideas. The film is primarily about identity and how factors such as cultural changes and the passing of time can play a part in how we see ourselves – the film starts with a funeral and ends with a life-affirming celebration, but both are captured with the same compassionate, upbeat lens that implies a circularity to many of these themes. Very few parts of life are consistent, but this film pursues themes that draw our attention to certain inevitabilities, presenting them as poignant moments in the lives of its characters. They navigate grief and celebration in similar ways, and we are given glimpses into their traditions mixed with contemporary aspects that make Betânia an invigorating film; a film that emphasizes family and community as seen through the perspective of a complex protagonist as she finds her own beliefs and understanding of the surrounding world challenged.

It is impossible to speak about Betânia without remarking on the extraordinary work being done by Diana Mattos, who leads the film as the titular character. She is both the narrative epicentre of the story and the emotional anchor from which every other character and plot detail is developed in some way, and her performance is reflective of the fact that this is entirely her film. The relationship between our protagonist and the other characters that weave in and out of the film is perpetually tested as we discover that she is a feisty, steadfast individual who is fiercely committed to living life on her terms. That may seem admirable in theory, but is the source of a lot of conflicts. Betânia is the centrepiece of this family, the matriarch through whom every decision flows, and Mattos brings incredible nuance to the role. It is made even more impressive when we discover that this is her first foray into acting, which adds layers of authenticity to her performance. Considering the film was constructed as something along the lines of magical realism, having such an enchanting and complex character at the heart of the story gives it a sense of consistency, and we find that the most memorable moments are those in which we learn more about Mattos’ character and her past. Mattos certainly makes a case for having turned in one of the best performances of the year, and the director’s clear admiration for the actor and what she brings to the role as someone who very likely experienced the same challenges as her character shines through in every frame.

There are several elements of Betânia that catch our attention right from the start. Thematically, it manages to be complex without being heavy-handed. It plumbs the emotional depths of the family in its focus and the broader community around them as they navigate various challenges. It offers an insightful and poetic depiction of rural life, showcasing the merits and hardships of choosing a simpler existence, especially in how it relays the idea that beauty is always in the eye of the beholder. It is also extremely creative – the cinematography is stark and stunning, and the use of music (which oscillates between traditional Brazilian folk songs and remixed versions of famous songs by the likes of Lana Del Rey, Sia, and Lady Gaga) adds layers of context that don’t necessarily define the narrative, but guide it conceptually in fascinating and bold ways. A striking portrait of a ferociously independent woman whose desire to live life on her own terms is quite inspiring, Betânia proves to be a truly remarkable film. It may deviate from the central narrative on a few too many occasions, but it ultimately always returns to the heart of the story. In the process, it offers commentary on both the perpetual socio-cultural tug-of-war that occurs between tradition and modernity and on the role of identity in defining someone as they voyage through life. Anchored by an incredible performance and filled with heart and soul, as well as an abundance of beautiful traditions, Betânia is a lovely film that will captivate and inspire in equal measure.

Image copyright: Felipe Larozza / Salvatore Filmes