Cinema for Portuguese Conversation is a textbook for intermediate and advanced students of Portuguese that uses film as the basis for teaching vocabulary, strengthening oral and written skills, and presenting Lusophone culture. The book is divided into five sections reflecting major themes in Brazilian, Portuguese, and Lusophone African cinema: the sertão (backlands), urban violence, political transitions, women, and the mythological legend of Orpheus. The movies come from different cinematic periods from 1959 until 2003, and can be found easily on the Internet, in libraries, or in rental stores.

In the first section, there are three movies exploring the sertão, an important trope in Brazilian cinema first examined in depth during the Cinema Novo movement of the 1960s and 70s. Caminho das Nuvens (2003) follows the true tale of a family of seven that bikes from the far northeastern region of Brazil to Rio de Janeiro in search of a better life. This movie, dedicated to the famous "King" of Brazilian music, Roberto Carlos, follows the "curves of life" that the family experiences along the way from the north to the south of Brazil. The second movie, Vidas Secas (1963), is considered a classic and is based on the book Barren Lives by Graciliano Ramos. Filmed in black and white, Vidas Secas depicts the difficulties encountered by a family trying to survive during one of the northeast’s many droughts. Vidas Secas is a distinct example of Cinema Novo, a movement that attempted to portray the disparity in Brazil’s socio-economic conditions. The third film in this section is Central do Brasil (1998), a worldwide box office hit, that follows the journey of a little boy and a letter writer from Rio to find the boy’s father. One of the first films to depict the inverse of typical Brazilian migration by going from the south to the north, this movie reveals changes in the country’s spiritual fabric.

Urban violence is the next topic of a number of films and though they may contain some brutality, they provide the viewer information on certain motivating factors behind the stark increase in Brazil’s urban decay and bloodletting. The first production, Carandiru (2003), is based upon a narrative that described the massacre of prisoners in the largest penitentiary in South America. Told through the eyes of a doctor doing research on AIDS among inmates he interviewed, this movie sheds light not just on brutality, but on the humanity found in some of the most hardened criminals. Next, the award-winning documentary Ônibus 174 (2002) follows the life of a young man who takes a bus hostage. This fascinating and cinematically stunning film depicts abandoned street children and their invisibility within Brazilian society. Finally, the popular Cidade de Deus (2002) addresses the growth of a favela on the outskirts of Rio de Janeiro. This violent movie reveals the drugs and corruption that keep such neighborhoods from becoming safe places to live.

Four movies about politics and the effect of regime transitions form the third segment. O Que é Isso, Companheiro (1997) examines the kidnapping of American Ambassador Charles Elbrick in 1969. This film delves into the tactics taken by a left wing organization to end the censorship and oppression of the military dictatorship. In Terra Estrangeira (1996), instead of fighting the government during a period of economic and political change, a young man flees to Portugal and gets involved in a smuggling operation. Both films educate viewers about important moments in Brazilian history and offer tight and exciting plots. O Testamento do Senhor Napumoceno (1997) is a delightful Cape Verdean film that follows the life of a successful businessman by using flashbacks. This movie subtly portrays the history of this Lusophone African nation leading up to its independence in 1975. Capitães de Abril (2000), an excellent film by Maria de Madeiros, explores the intricacies of the April 25^th Revolution that ended nearly five decades of fascist rule in Portugal. This film emphasizes in particular the role of low ranking officers, such as captains and majors, in standing up to the old guard.

Women and their relationships with men is the theme of a number of Brazilian films. Dona Flor e Seus Dois Maridos (1976) by Bruno Barreto is a classic based on the novel of the same name by Jorge Amado. Filmed in Salvador, Bahia, this movie incorporates Afro-Brazilian culture, cuisine, and religion in its portrayal of a woman who has two husbands. This movie has some nudity. Eu, Tu, Eles (2000) is another movie about unofficial polygamy, though this time in the sertão. Darlene, the protagonist, lives with three men and has children outside of wedlock. In addition to offering a realistic portrayal of sertanejo life and folklore, this movie depicts the difficulties women have in a traditional, paternalistic society.

Orpheus, the mythological Greek poet and musician, has inspired a number of plays and movies including Orfeu Negro in 1959 and Orfeu in 1999. Both films are very musical—the first exposed the world to the Bossa Nova music of Antônio Carlos Jobim, and the second to Bahian master Caetano Veloso. Though the former was a universal hit, winning the Oscar for Best Foreign Film, it has been criticized in recent years for depicting favelados as content with their poverty. In any case, by watching both pictures, viewers will have the opportunity to question how the movie industry can adapt themes from both myth and theater (both movies were based on a play about Orpheus by Brazilian Vinicius de Moraes).

In conclusion, the aforementioned films provide ample material to study Lusophone cinema, history, and Portuguese. By classifying each movie within a general subject heading, students will have the opportunity to see how individual works fit within a broader thematic topic. It is my hope that this will inspire them to go to the cinema more often and learn more about what is behind the words and images on the screen.