Right from the first line, it must be said: the film “Bruna Surfistinha” is better than people are saying. But, I'm sorry to the fans of Deborah Secco, who plays the character that gives the film its name, the best performance is not hers. But we'll talk about that later.
“Bruna Surfistinha”, directed by Marcus Baldini, premiered at a very interesting time: close to March 8th, the date women use to claim gender rights and freedom; and close to the release of “Bruna…” the new beer campaign “Devassa” was aired, which once again caused controversy by revealing the “devassa” side of the singer Sandy, who until then (and still) is considered by many to be a “poliana”, that is, a saint.
These three facts have in common the issue of the female gender at the epicenter of their theoretical and objective goals. But, in one way or another, everyone talks about the same thing: the liberation of women to be their own people and not respond to masculinist cultural orders… Or not? Are Bruna Surfistinha and the “Devassa” campaign reinforcing what feminists call the “commodification of the body”?
Let's analyze the character Bruna Surfistinha: in the film, we learn that she went into the world of prostitution due to a constant misunderstanding with her family. She felt out of place in her home. She preferred the street and selling her body. She went to live in the house of the pimp Larissa (Drica Moraes). She imposes herself and discovers a world of possibilities and experiences to come, very different from the middle class life she led with her parents.
They say the film glamorized prostitution. The truth is that Bruna/Raquel liked what she did. The glamorization is in the character's own skin. She feels power, especially when she starts using cocaine. She discovers that she can dominate the world and make herself a profitable product, which will give her the financial independence she dreams of... Whether she can do it or not, you'll find out by watching the film.
Therefore, in the story of Bruna Surfistinha, specifically, we can say that the commodification of the body is conscious. It can't be compared to most stories involving characters in prostitution. Furthermore, Bruna Surfistinha's performance does have a hint of sexual freedom: I do whatever I want with my body. Like it or not. Ultimately, Bruna mixes the commodification of the body with sexual freedom.
The wronged Drica Moraes
When watching the film and then turning to criticism regarding the work, the injustice of critics in relation to the character and performance of Drica Moraes, who plays a fundamental role in the story and life of Bruna Surfistinha, is notable.
Larissa, the pimp played by Drica, is the one who gives the young woman the first job opportunity and, with her experience in the industry, soon sees a great potential for profit in Bruna. Larissa works as a kind of mother. Throughout the film, she gives the girls advice and tries at all costs to keep them away from drugs.
Apart from her maternal role, the tone that Drica Moraes sets on stage is impressive. This only reinforces the great actress that Brazil has and who has just won a battle against leukemia. The film's greatest performance is by Drica and not by Deborah, who is somewhere between painful and well-intentioned.
Finally, the feature film “Bruna Surfistinha” proves that Brazilian cinema is capable of making popcorn films without having to resort to crude slapstick. “Bruna…” is a dense, reflective film, but one that manages to dialogue with the general public. Another high point is the soundtrack, which ranges from Yeah Yeah Yeahs to Radiohead, very well fitted into the film's continuity. It's worth going to the cinema.
