‘O Projeto’ Directors on Walter Salles’ Support and Screening Poetic Doc About Colonialism Ahead of ‘Dramatic’ Brazilian Elections That Offer a ‘Choice Between Good and Evil’

A new Brazilian-Swiss documentary titled “The Project: The Myth of Colonialism’s End” confronts the enduring repercussions of colonialism across continents, arriving at a critical moment as Brazil prepares for a highly charged presidential runoff. Directed by Brazilian filmmaker Sabrina Fidalgo and Swiss photographer Yvan Rodic, the film presents a road movie format that weaves together historical archives, interviews with prominent thinkers, and poetic sequences to examine colonialism’s persistent influence in both the Global North and South.

The project, which took shape over six years beginning in the early days of the COVID-19 pandemic, faced significant challenges due to travel restrictions and a lack of governmental cultural support under Brazil’s Bolsonaro administration. Despite these obstacles, Fidalgo and Rodic developed the film through extensive dialogue and careful research, blending their divergent backgrounds—Fidalgo as a Black Brazilian woman and Rodic as a white Swiss man—to offer layered perspectives on colonial histories and their modern legacies.

This collaboration emerged in the context of the global Black Lives Matter movement, which galvanized the filmmakers to pursue a deeper exploration of systemic inequalities rooted in colonialism. Their journey spans multiple countries, including Brazil, Germany, and Switzerland, interlacing voices such as Grada Kilomba and Djamila Ribeiro, who provide critical insights into the cultural and racial dynamics shaped by centuries of European domination.

The film’s production marked a milestone as it became the first Brazilian initiative to receive backing from Le Fonds de Dotation agnès b, a philanthropic fund established by the renowned fashion designer Agnès Troublé. Additionally, the documentary attracted support from notable Brazilian directors like Laís Bodanzky, who is involved as an associate producer, and Oscar-winning filmmaker Walter Salles, who praised the film for its incisive treatment of colonialism and race.

Fidalgo’s engagement with Bodanzky traces back over a decade, highlighting a collaborative spirit among female filmmakers in Brazil. This relationship coincided with Fidalgo’s broader creative trajectory, including the development of “Carnaval,” her forthcoming fiction feature completing a thematic trilogy initiated with “Queen” (2016) and “Lavender” (2019).

The timing of “The Project”’s release is particularly poignant given Brazil’s political climate. As the nation approaches the second round of elections on October 25, the contest pits incumbent Luiz Inácio Lula da Silva against Flávio Bolsonaro, son of the former president known for controversial statements on Brazil’s racial history. This electoral scenario imbues the film with heightened urgency, as it addresses the societal fractures and historical injustices that remain deeply contested.

By linking contemporary protests and political mobilizations in Brazil to the global resonance of the Black Lives Matter movement, the documentary acts as a call to awareness and action. It challenges audiences to reckon with colonial legacies not as distant history but as active forces shaping present inequalities and political choices.

Scheduled for a theatrical release in Brazil on November 19, “The Project: The Myth of Colonialism’s End” aims to stimulate dialogue and reflection amid a turbulent national moment. Its blend of personal narratives, political critique, and aesthetic innovation positions it as a vital cultural artifact confronting the intertwined histories of colonialism, race, and power.

Produced through collaborations between Gullane, Fidalgo Produções, Globo Filmes, Canal Brasil, and Yvan Rodic Media, the documentary’s cross-border creative efforts underscore the transnational nature of its subject matter. As the film reaches wider audiences, it articulates a shared global reckoning with colonial pasts that continue to shape contemporary realities.