01x02 - FAITH IN THE PARTY - We will arrive at the party in peace

[bunniefuu]

Look at this!

It's older than me. Have a look.

It's a Veronese.

My first instrument.

My mom gave it to me.

-Look at this.
-They went to get it.

I used to play it when I was a boy.

-Your first one, right?
-Yeah.

How old were you?

I was 10.

Look at that. You didn't forget.

I forgot everything.

You haven't forgotten how to play.

Oh, if I play it for...

for several days, a week, or 15 days,

it'll come back to me.

-It's a demanding instrument.
-And heavy.

AT HOME WITH THE GILS

ARARAS
RIO DE JANEIRO STATE MOUNTAIN RANGE

I'm a little lost. Who's next?

-It's Marilia.
-Is it over?

-It's Marilia.
-Go ahead.

Initially I thought about

eight songs to honor each child.

Whether for the year

MARILIA GIL
DAUGHTER

it was written,

for being written for that person.

I narrowed down my list, and I kept

"Barato Total".

Great. I love it.

Also, it's been recorded by women only.

-By Gal, right?
-Gal, Zizi, and Liniker.

So I thought the women in the family

should sing this song.

Cool!

I'd would like to say that

PRETA GIL
DAUGHTER

I think Ana and Maria must sing

-in the concert.
-Yes.

"Barato Total" would be a great song

NARA GIL
DAUGHTER

-for them to do on stage.
-Exactly.

I took the opportunity because I felt...

-Great, Pretinha.
-Marilia mentioned the women in our family

and our women aren't just daughters here.

-Daughters-in-law are family too.
-Absolutely.

They're on the family tree.

Right, so they must be on stage.

Precisely.

-Our family is this big...
-Sure.

GILBERTO GIL

When we're happy

People, cats

Even a roach can be cool

Everything you say
will be good

Nothing you eat
makes you sick

When we're happy
We don't think we're happy

We don't want to think
about our joy

We don't want to think
We just want to live

DAUGHTER-IN-LAW

Repeat it!

Repeat, Grapette!

Whoever drinks Grapette
needs to do so again!

Thanks!

Good morning.

JP DEMASI
SON-IN-LAW

-Wow.
-Oh, my love.

-I like that.
-I'm ready for festa junina.

You're so...

FLORA GIL

pretty!

-Wasn't it a themed breakfast today?
-I need this shirt.

I'm dressed like a caipira.

I got it.

It worked.

There's been lightning
for 3 nights in the North

The white wing listened
to the rumble of thunder

It flapped
and went back to the countryside

I'm leaving
to take care of the field

It flapped wings
and went back to the countryside

I'm leaving to take care of the field

BELA GIL
DAUGHTER

You cut it.

Another one. The fifth you've done.

We're having a soccer game.

BENTO GIL
GRANDSON

Take the flag from him.
You're a teenager, help us.

SON-IN-LAW

-Come!
-There's something wrong here.

It's gonna be wider.
Teach him how to do it.

That's right.

Come, Di Maria. Let's play soccer.

Let's go, Dom.

We've been talking about
aesthetic pressure which

is an established beauty standard.

To be beautiful, you have to be skinny,

tall, and white.

It's a trap,

PRETA GIL
DAUGHTER

and I was caught.

I don't mean

we should make fat

glamourous or natural,

but we should know
our worth and ourselves.

By knowing ourselves, we love ourselves.

During the pandemic,
I got more in touch with myself.

I started touching my skin.

I started to feel
my hair and skin's texture

and I started a relationship

which was more loving and less critical.

That's it.
We criticize ourselves all the time.

I have to look like this,
I have to look like that.

Do I have to? Why?

I'd like to invite you to do
a skincare session

because...

Bring it.

-What is it?
-Come here, Baiano.

It's acaraje!

Eat it without guilt.

Guys!

It wasn't on purpose. It was a surprise.

It's so good!

Acaraje in the middle
of this empowerment stuff.

It's dende empowerment.

Is my face clean?

-Let me see.
-There are three types.

You put on this part here. The soft part.

Wow, it's so cold!

Maria, you need to remove...

You can use this.

I need to remove mine.

-Grandma.
-Masked grandma kiss.

-What do I do with this?
-Put them on your eyes.

That's it.

My hands are dirty.

That's it.

-This vitamin C here...
-Four minutes left.

-Look here, Sol.
-Lua's licking my mask.

The fry sauce is for the chicken breast.

-Is it?
-Yes.

Fry sauce. Wow! How cool is that?

The issue is not the food itself,

PINA GIL
GRANDDAUGHTER

but the relationship
between brands and junk food.

My dad had a macrobiotic diet
when I was a kid...

So I knew I shouldn't,

but it's also about convenience
which is pushed on women

due to the guilt that women feel
about going to work.

So then

the reward is a more practical,
canned, artificial life

so she can go to work.

This is where they want

women to be in the kitchen,

or intoxicating their kids.

You told me that
I don't know about your life.

No, you know nothing about this.

Then you corrected yourself.
Now I understand.

-I say you don't know...
-This.

It doesn't mean
you know anything about this.

You? You said like you knew it.

No, I really don't know.
I was talking in general.

BENTO GIL
GRANDSON

-You understood it like that.
-No, I didn't. That's what you said.

No, honey.

I've known you your whole life
so I can see the big picture.

What do you mean by that?

Of your life.

I understand your take on having
this superficial vision

of a rocky relationship between
stepmother and son.

-That's it.
-No, it isn't.

Okay. It's over.

-I don't speak rudely.
-Let's discuss it in 20 years.

MARIA GIL
DAUGHTER

Take it easy, guys.

I want to see if you think
the same way in 20 years.

We didn't say anything.

You'll leave this argument
thinking you know something.

I think you should calm down,

be more respectful to your aunt.

They told me to shut up.

-Them?
-I just got here.

But I think you should
take it down a notch.

Like you always do.

But he's not being disrespectful.
If so, I would have taught him a lesson.

I'm being disrespected.

No, you're not.

I didn't tell anybody to shut up.

Maybe not by you,
but you said something that I didn't.

-What? But I saw it that way.
-You're going around in circles here.

I just think you lack empathy,
but you'll learn.

FRANCISCO GIL
GRANDSON

Throughout your life,
you'll face situations

in which you can observe other people
in similar situations

to what Ana, your mom,
or your dad also face

and have been facing it throughout life.

And this will make you
realize how humanity

takes us to our limits.

I get it.

Traumas are traumas.

-But I think...
-It's not about trauma.

-Wait a minute.
-Things that happen...

You spoke about empathy
but don't really understand it.

Relax. I'm not just talking about
this subject but everything.

Not only about serious things
but silly ones too.

You should stop and think, you know?
There are always other feelings.

For example, you said you resented me
for not wanting to know from you about it.

No, not at all!
It's because you said that.

I just want to be clear
that I'm fine talking about it.

-Got it.
-I didn't feel like talking about it

with me and nor did you.

That's why you have no clue about it.

JOAO CAETANO THEATER
RIO DE JANEIRO, 1972

The Express 2222 started running

It runs direct from Bonsucesso
to the hereafter

The Express 2222 started running
From Brazil Central Station

It runs direct from Bonsucesso
To after the year 2000

They say there's many people

Getting ahead
Leaving to go there

To 2001 and 2
And times beyond

To wherever that highway of time
will end up

Of time will end up

Of time will end up

Oh, girl, where it ends

According to whom rode the Express

About the year 2000 is that

Final station of life

On mother Earth conceived
of wind, fire,

Of water and salt

Of water and salt

Of water and salt

Oh, girl
Of water and salt

The Express 2222 started running

It runs direct from Bonsucesso
To the hereafter

The Express 2222

started running
From Central do Brasil

It runs direct from Bonsucesso
To after the year 2000

The boys were talking about the timeline.

The military coup was in 1964,
the year you met Caetano.

NARA GIL - MARILIA GIL
DAUGHTER

In 1965, you graduated and married my mom.

Yes.

I was born in 1966 and Marilia in 1967.

You were arrested in 1968.

By 1969, you were already exiled.

Exactly.
It was... a difficult period.

You got arrested in your apartment.

I lived there by myself.

The embarrassment was permanent.

I was being arrested.

They've taken away my freedom.

My destiny, in a way,

interrupted because,

until then,

I was living my life,

my fate was in my own hands.

I chose where to go, what to do,

what I wanted to do, my choices and so on.

You're arrested and it's all over.

And there's the career as well, right?
You were beginning to rise.

My professional life was bombarded.

I had to rebuild everything from London,
you know?

Rebuild my career...

Yes.

...while exiled, the best I could.

Dad!

People want the one
you made when you left.

JOSE GIL
SON

"Aquele Abraco".

I don't know how to play it.

-Play it, Dad.
-"Aquele Abraco"? Come on!

-It's yours.
-Go for it.

You play it.

What key do you want?

-Oh, my God!
-Wow!

Hold your horses! Bem's in the house.

-The 1983 version.
-He's a pro.

We want the 1969 version.

-From '69.
-Dad, sit here.

This is the one.

Rio de Janeiro is

-still wonderful
-This samba

Is for...

Rio de Janeiro is still

-alive
-Dorival Caymmi

Joao Gilberto

and Caetano Veloso.

Rio de Janeiro

February and March
Hello, Realengo

A hug to you
Hello, Flamengo Fans

A hug to you
Hello, Realengo

A hug to you

Hello, Flamengo fans
A hug to you

Hello, girl from the slums

A hug to you

Everybody from Portela

A hug to you

Through the whole month of February

That dance move

Hello, Banda de Ipanema

A hug to you

My path through the world

I forged it myself

Bahia has already given me

A ruler and a compass

I'm the one who knows myself

A hug to you

For those who've forgotten me

A hug to you

Hello, Rio de Janeiro

A hug to you

All Brazilian people

A hug to you

Rio de Janeiro is
Still beautiful!

My song is one I believe you haven't sung

since the 1970's.

It's from the album "Expresso"
called "O Sonho Acabou".

BEM GIL
SON

-And it's...
-Great song!

I thought about this song

because it's relevant to

your exile in London.

Practically the whole album

has this musical influence,
but this one has the theme

because it converses with Lennon's album.

"The dream is over".

Exactly.

You wrote when you were
at that campground,

living the experience.

You mention the sleeping bag.

Let's get to it.

Very good.

The dream was over

When the sky was dissolving

Dissolving the night
at the break of day

The dream's over
Dissolving the pill of life

From Dr. Ross
In Maria's belly.

The dream is over

Turning the lamb's blood into water

JOAO GIL
GRANDSON

Melting my sorrow
Knocking down my bed

The dream is over

I want to explain that these people
on the stage are from Brazil,

ISLE OF WIGHT FESTIVAL

and...

They're here because politics doesn't
allow them to do their thing in Brazil.

For sure they can do it here.

Isle of Wight was a big...
There was a campground and many stages.

The concerts started at 11 a.m.
for at least a week.

We saw Jimi Hendrix.

We saw the premiere
of Emerson, Lake & Palmer.

-We saw Miles Davis.
-Wow.

His revolutionary music.

-You stayed there...
-In tents.

-In tents?
-Yes.

In front of the stages?

Yes, it was a huge farm.

-Was Pedro already born?
-On Isle of Wight.

My mom said he went from tent to tent
and everybody looked after him.

The vibe of the island was interesting.

-I bet.
-All those hippies.

People from all over England

and all over Europe.

-Was it like a revolution?
-That thing was

very impressive.

Did you like living in London?

Uncle Caetano didn't, right?

Did he?

He didn't. It was difficult for him,

the distance from his existential core

which was in Bahia,

Santo Amaro, his big family,

So he didn't get used to that.

He didn't smoke weed.

-He was a square.
-He didn't take acid.

He was always clean.
It was more difficult then.

He didn't like those things.

LONDON


On the other hand,
I had this natural attraction

for the different states of consciousness.

I went to the streets
with my guitar on my back.

You got into it.

I was having fun.

With all the different elements...

-Yes.
-...that were part of the lifestyle.

Camera.

Action.

Who do you think I am?

My memories were based in photos,

not your presence,
because you were far.

People showed me the album cover.

There was a story in Manchete Magazine

about the Isle of Wright Festival.

There were pictures of you with long hair,

and the beard,

and people said, "It's your father."

And I said, "No".

Because I had this other image,
from other pictures,

another idea of him,

and I said, "This isn't my daddy."

To me, it was a continuation

of a prior mode of relationships,
a distant one.

I left their house

when Marilia was born.

But I guess it was different for you.

Did you miss us?

I did.

Two wonderful girls that looked like me.

My two beloved daughters.

I processed

the feeling of missing you

with a poetic view
of that feeling of missing you.

Were you afraid of never coming back?

Yes, but I knew I would come back.

I thought the time

to see you girls

would come eventually.

SALVADOR


MARILIA GIL
DAUGHTER

PEDRO GIL
SON

NARA GIL
DAUGHTER

PRETA GIL
DAUGHTER

When I was a kid, people told me

about my grandpa being exiled

and I didn't understand

PEDRO GIL
GRANDSON

what it meant.

And then when I was older,
I tried to understand

what happened to my grandpa
through this song.

This song talks about missing
the sun, the salt,

but obviously, subjectively,

it talked about missing his family,

his baby daughters,

And when I was older,

this song hit me again,
by another feeling it brings,

that now that I am more mature,

I see eye to eye with him.

I think life is what it is.

Things happen, whether is luck,

or punishment, or even by chance.

Not exactly good or bad,

but necessary for life to be.

As if leaving was necessary to come back,

Necessary to come back,
and much more alive obviously.

It sounds like London and it's so cool.

Yes, the song

-refers to that kind of music...
-Yeah.

...pop, pop-rock...

But also to Bahia. It's all there.

Yes. It's like...

Like...an embolada.

-And this blue note.
-Yeah.

It's a blues song from northeast Brazil.

"Back in Bahia".

-"Back in Bahia".
-I love this song.

Back in London
Sometimes I felt far from here

Sometimes I felt away
I found myself

Pulling my hair

So nervous, wanting to listen
to Celly Campello to keep from falling

Into that pit

As my Porto Belo comrade fell

Into that lack

Of judgment I had no reason to feel

Into that lack of warmth

Of color, of salt, of sun
of a heart to feel

Such longing

Preserved in an old silver chest
Inside of me

JOAO GIL
GRANDSON

I say silver chest
Because silver is the moonlight

The moonlight

The moonlight that I longed
By the sea

Bahia sea

Whose green sometimes
Made me feel good to remember

So different

From the green also so beautiful
of the green grass fields there

North Island

Where I don't know if luckily
or by forfeiture I ended up

For a while

It passed by quickly after all
as everything should do

Today I feel as

Leaving was necessary to return

Even more alive

From a well-lived life
divided here and there

-Hello, Bahia.
-Hi.

I look like Luisa Sonza, God forbid.

Why? She's so pretty.

No, Grandma, it's June Festival,

SOL DE MARIA
GREAT-GRANDDAUGHTER

not Carnival.

Nor a funk party.

What color are you wearing?

Ouch, not in the gap.

I'm gonna use red lipstick. Put it on me.

-Please.
-No.

-Yes, you will.
-Do you trust her?

My lips are big

-so there's a margin for error.
-This one's dry.

-Can anyone help me?
-I can.

Is this good?

PRETA GIL
DAUGHTER

-Wow!
-My goodness!

You just have to do that.

I just need to get dressed.

Your grandma like it this way. Wanna see?

-I don't wanna do freckles.
-Neither do I.

I'll come here tomorrow
before I go downstairs.

Yes, I think we should come by

-Preta's room every day.
-I want to come by

-every day.
-We should do that.

Before going downstairs, we come here.

-Grandma.
-Yes, dear?

Do I have to where a jacket?

Yes, the pink one.

Sol, you've got a cold because
you won't wear your jacket.

-Exactly.
-I look like a snow man.

-This is cute.
-I don't like it.

Very good!

Now him.

NINO GIL
GRANDSON

-You look great.
-Why are you laughing at me?

I'm not. I'm giggling because you're cute.

-Show Aunt Nara.
-So cute!

Want it too?

SERENO GIL
GRANDSON

One, two, three, go!

DOM GIL
GRANDSON

Go!

-Hey, pops.
-Hey, Bento.

Do you want quentao, Dad?

I would.

Will she eat pork?

Mr. Gilberto's stirring the charcoal.

There's a boy's club

-vibe there.
-Yeah!

They really look like twins now.

LUCAS GIL - GABRIEL GIL
GRANDSON

If someone drinks from that grey pan,
they're going to the moon.

-This one?
-It's pinga and sugar.

-And cinnamon.
-So sugar, pinga, and cinnamon,

some lemon, ginger, cloves.

Good cachaca.

You pour it and complete it
with some cachaca.

We come in peace to the party

Party, party

Party with faith

Faith

Faith in the party

Party

Party in faith

You put it out.

What the heck was that?

Here I am again dancing xaxado

Here I am again to dance xaxado

Here I am again dancing xaxado

Here I am again to dance xaxado

I'll show these guys
That I still got it

That's an affront
and I can't take it

Here I am again singing

Here I am again dancing xaxado

Here I am again showing
how to dance xaxado

Hey, brunette in a colorful dress,
The most beautiful in the place

Go, call Maria and Luzia
Go, call Zabe and Raque

By day or by night
I'm here happy to teach how to dance

I'm here to teach xaxado
I'm here to teach xaxado

I'm here to teach xaxado
I'm here to teach

I returned to the countryside
I made fun of Januario

With my silver bellows

Only from below,


Like people in line

But before you go

play in Granito
They told me

"From Itaboca to Rancharia,
Salgueiro to Bodoco,

No one's better than Januario"

And that's when Jaco told me in anger

Luiz, respect Januario

Luiz, respect Januario

Luiz, you might be famous
but your dad's stubborn

Nobody confronts him, Luiz

Respect your father's eight bass bellows

Respect your father's eight bass bellows

Respect your father's eight bass bellows

There's something symbolic
in burning things we no longer want,

put things to an end.

-I propose we do that.
-On a full moon!

GABRIEL GIL
GRANDSON

Writing things we'd like to leave behind,

things we don't want to keep.

We write them down and burn it.

-I need a whole notebook.
-Let's use this fire.

So many things.

Out with diseases, plague, virus.

End of misery, hunger.

Let's burn it all so people won't suffer.

Out with COVID-19, hatred,
evil and denialism.

Just put the initials.

I always want to be Xango, the boy

From Saint John's bonfire

Sky full of stars without destination

Beautiful with no reason

Take care of destiny, Xango

In beauty and reason

Long live Saint John

Long live Saint John
Long live the green shine

Long live Saint John
From Oxossi's forest

Long live Saint John

Long live Saint John