Filmmaker Kleber Mendonça Filho, writer and director of the critically acclaimed film ‘The Secret Agent,’ offers a fascinating glimpse into the making of one of the movie’s most significant sequences. Set in 1977, this particular scene appears late in the film and proved to be a considerable challenge both in its conception and execution.
Mendonça Filho recognized early on that this sequence would be crucial for ‘The Secret Agent,’ as it finally allows audiences to truly spend time with the diverse group of individuals residing in Dona Sebastiana’s building. The ensemble cast features Isabél Zuaa as Tereza Victória, Licínio Januário as her skeptical husband, Antonio (originally from Angola), Hermila Guedes as Claudia, João Vitor Silva as Haroldo, and of course, Tânia Maria as the central figure, Dona Sebastiana. The scene also includes Lula Terra, Robson as Clóvis, and a memorable appearance by a sleeping child, Gal.
The production itself was a test of endurance and dedication. Shot entirely over a single night, from 7 p.m. to 4:30 a.m., Mendonça Filho’s primary concern was to ensure that every character, and indeed every actor, received the attention and honor they deserved. He speaks of a deep affection for his characters and the talented cast portraying them. The shoot was complex, involving two cameras, anamorphic Panavision lenses, three microphones, a crew of about 30, three dogs, and even a cat. Beyond the technical demands, the dramatic arc of the scene was intricate, transitioning from a light-hearted beginning to a palpable shift in the room’s atmosphere. The director credits the powerful performances and the underlying emotional honesty in the script for the sequence’s success.
The scene is rich with subtle narrative elements. Wagner’s character, for instance, boldly reveals his true identity, prompting a ripple effect among his friends. Antonio, Tereza Victória’s husband, remains steadfastly skeptical, reflecting the precarious situation of those living under an authoritarian regime. Even the sound design plays a role, with a deliberately amplified telephone ring adding to the tension. A fleeting visual of the legendary gymnast Nadia Comaneci with Wagner in the background offers a touch of period detail.
A deeply moving moment unfolds when Dona Sebastiana, in a gesture of profound care, opens up to her residents, sharing her ‘little museum.’ This revelation profoundly impacts the film, revealing Sebastiana’s own rich and challenging past in another country, mirroring the struggles faced by many of the characters. Mendonça Filho consciously avoided a handheld approach, opting instead for precise, well-composed shots. His aim was to allow the actors and characters to exist authentically within the frame, without the camera’s presence adding any unnecessary energy. The Panavision aspect ratio, he notes, proved ideal for capturing the depth and intimacy of the group.
The sequence concludes with a tender, unplanned moment: little Gal, who was meant to have lines, fell asleep during the long night shoot. Mendonça Filho chose to let her sleep, capturing a few shots of her slumber, believing it offered a beautiful and hopeful ending—a child dreaming of a better Brazil.