Original subtitles

LATIN BLOOD - THE BALLAD OF NEY MATOGROSSO

Cry!

Cry!

Cry right now!

- I won't cry. - Cry!

- I won't cry. - Cry, boy! Cry!

Cry!

Cry!

Cry already, Ney!

Aren't you going to cry?

Aren't you going to cry?

Aren't you going to cry?

Take your clothes off.

What's going on, Antônio? Antônio, stop! Stop it!

- Antônio, stop! - Learn to be a man!

Antônio, stop it!

You leave your son there!

Inside, you two! Go on inside!

- What did he do? - Doesn't matter!

Can't you see that the neighbors are watching?

MILITARY VILLAGE 1949

I hope a truck runs over that bastard.

What did you say?

Never say anything like that again, you hear?

And now, here she comes, our queen of the forest.

Put your hands together to welcome her.

Elvira Pagã!

Straight from the radio station's auditorium to your home!

What's this indecency?

I'm not raising children to be artists.

That's the stuff of whores and gays.

A construction worker can also be a gay.

What?

Stand up straight. Like a man.

Shoulders back. Look at me.

No son of mine…

Will ever be an artist.

Do you understand?

Go on!

One thousand five hundred times until you fill the water tank. Go on!

That's it. Harder!

Good.

Yes, I understand, sir.

Yes, I understand, lieutenant. I understand.

But you must agree that I served this country in a war.

I earned two medals for the Italy campaign.

So I'm entitled to a promotion.

No, I understand, of course. Forgive me.

I understand, sir.

Yes, okay.

Thank you. Goodbye.

What are you doing?

- You're wasting water. Shut it off. - It's me...

It's me who fills the water tank every day. I can waste as much as I want.

Turn off the faucet.

Can't you hear your brother, boy?

Are you deaf?

You can't say anything either.

I'm the one who brings the bucket to wash your feet every night.

Mom! Mom!

- What's going on? Stop, you two! Stop! - Leave my house right now!

Stop.

I'll leave, Dad. I'll be happy to leave.

Because looking at your face disgusts me.

Stop, Antônio. Ney!

- Ney! - What happened, Ney?

Ney.

Don't do this, Ney.

Ney, your dad doesn't mean it.

- He does mean it. - Put this down. Put this down.

- I'm leaving. - No.

- I am. I am, Mom. - No, you're not.

Yes, I am.

I am.

And I'm not just going for me.

I'm leaving for you, too.

So you can have some peace in this house.

You have nowhere to go, Ney.

- I'll find a place. - No, you won't.

Don't leave. Ney, please... Ney!

Leave. Don't come back asking for anything.

I don't want a gay son here in this house.

I'm not gay.

But when I become gay, Dad…

All of Brazil will know.

Ney!

GALEÃO AIR FORCE BASE 1959

Ready, platoon!

One, two, three, four, five, six One, two, three, four

One, two, three, four One, two, three, four

-Five, six, seven, eight -Go!

Come on, harder, harder!

Nice ass, son.

Let's go.

Come on.

There were some discipline issues.

But he surprised me.

He's disciplined, arrives early, carries out his duties.

In short, if I had a hundred men like your son,

my platoon would be perfect.

I just came to see what you were up to.

Now I'll have to go to Campo Grande

and put up with your mother telling me that I was wrong.

BRAZILIAN AIR FORCE

I swear! No, I saluted him.

And his eyebrow was twitching, Cato.

Just like a green twig. Like this.

- Twitching like this. Yeah. - Seriously?

See? You were able to knock your dad down a peg.

No one told him to come here.

Isn't that what you wanted when you enlisted?

I wanted to get out of that house.

Too much fighting.

I wanted to prove to myself that I can get by on my own.

And you went and picked his turf?

You provoked him, Ney. You crossed the front line.

What could I do? Either I enlisted,

or, I don't know, I could have gotten married.

Yeah, you could've gotten married.

- Have a good trip, soldier. - Thank you, sir.

- Until next time. - See you.

I can't believe you're leaving.

I'm catching a ride with the Air Force plane and going home.

How about you?

Do you know where you're going?

No.

One thing I know is that I'm not going back home.

Come with me then.

Let's take this plane. Let's go to Espírito Santo together.

And what will we do there?

Good luck.

Bye.

Okay.

Now just the girls, please.

Contraltos.

Okay?

I'm sorry.

Continue.

You have a rare voice like the castrati.

Yeah, I have a high-pitched voice.

- I know. - No.

It's more than that. It's…

Your voice is special.

What's your name?

Ney.

De Souza Pereira.

Another one who landed in Brasília.

- Me? - Yeah.

And what do you think about the Capital of Hope?

Empty.

For the moment, right?

There's work here. It will be full of people.

Your friend is right.

There's a lot of room.

It's maddening.

Are you a singer too?

Me?

No, I work at the hospital.

He's being modest.

This creature has the loveliest voice in the choir.

I'd really like to be an actor.

That's what I want.

You can act and sing.

Like in the opera.

Have you thought of that?

I miss the Palais Garnier.

There was a different opera every week.

Where?

Eugênio just got back from Paris.

He was living there.

Yeah?

And why did you come back?

Because the true tragedy of man is not knowing how to love.

Wait, wait.

I've never done this.

Trust me.

Trust me.

Take it off. Take it off.

Why?

They're too tight.

I've always worn tight pants.

You're not going with me like this.

Take it off.

Eugênio, these are the only pants I have to go to this party.

Wear these, they're mine.

They'll look great.

I'm not hungry.

You didn't eat anything at the party.

If it was that waiter offering it to you, you would eat.

Eugênio, the guy was working there.

I saw.

- You saw, right? - Yeah.

Yeah, you saw. You see. That's your problem.

You imagine everything.

This isn't working anymore.

- What's not working? - We're not working.

Quit being a child.

I'm not a child.

I never was, even as a child.

I thought it would be different with a man.

That it would be good.

I thought it would be different with you, but it's the same.

It's possessiveness, jealousy, obsession, your paranoia. This is a drag.

- Ney. - This is a drag.

Look at me.

- Look at me. - No,

I want to look wherever I want, Eugênio!

Do you understand? I want to wear any pants I want.

I'll do whatever I want.

Eugênio.

Do you want to kill me? So kill me now. Kill me.

Enough.

Wow, this is really fancy.

Oh, I pick it up there, and I don't pay anything.

Not this, look.

This is from a friend's studio. He...

He cuts things and I take whatever is left over.

He works magic, doesn't he. I like this.

- I like it. It looks good, doesn't it? - It's fancy, Ney.

Did you like it?

Now, the cherry on top.

- It's cassette tape, right? - I spent a week pulling out tape.

It does look like it was a lot of work.

Look. Beautiful!

Oh, it must be Bete.

- Come in. - Should we trim it?

Yeah.

Here, like this.

Your mom and I moved. I don't know if you knew.

We left the military village.

She told me.

- Yeah. - Who wanted to move? Was it you?

It was me.

I asked to be put in the reserves.

Ney, I don't really agree with what's happening in this country.

Yeah, things are really weird.

You did the right thing.

Yeah.

We made so many friends in Ilha Solteira, and it got me thinking.

I can get you a job to help you get out of this.

Get out of what, Dad?

I'm working here with my crafts.

I'm in the theater.

Does it make money, Ney?

Will it guarantee your retirement?

I won't spend all my life thinking of my retirement.

- Of course not. - Bye.

Bye, Ney.

- Bye. See you at rehearsal. - The wig looks good.

- Gorgeous. - Kiss, Ney.

Here, take the belt.

You're almost 30 years old, son.

You keep bouncing around

without a goal in life.

- And these people that come here… - Not "these people."

They're my friends. Have some respect, please.

Come back home, Ney.

It's your mom who's asking.

You still don't get it, do you, Dad?

I chose this.

I chose it.

I don't have money.

I really don't have any money. I don't own a home.

I have almost nothing.

But I'm happy this way.

THE MILITARY STRENGTHENS SECURITY MEASURES

Do you want to have lunch?

- No. - There's a good restaurant here.

- We could eat there. - No, I have to go.

Here.

Take it.

I don't want it.

I really don't want it.

Will you send Mom a kiss?

- Will you remember? - I will.

Dad.

Try it higher. Try a higher pitch.

It sounds good too.

This is good, right?

It's beautiful now.

The world needs to hear your voice.

Luli, there you go again.

Ney, here I go again.

Oh, Luli, I'm an actor.

I'm an actor, not a singer.

But it's all theater.

I'm not the one saying this, Ney.

The Death card doesn't come out three times for everyone.

I told you. No, it's not for everyone.

This Ney that we know.

This Ney is going to die.

A new Ney will be born.

Amazing!

That's the voice we're looking for.

- Didn't I tell you it's great, João? - That's nice to hear.

He's the right person.

- I've never heard high notes like that. - Let him talk.

Me, talk? No, I want you to talk.

Talk a little about the band.

Yeah, right now it's just us two. Gerson and I.

The idea is to take published poems and set them to music.

Like Manuel Bandeira, Solano Trindade, you know?

It's a way to get around censorship.

But do you have anything? Do you have a repertoire?

- Any ready songs? - Of course.

- Yeah. - Why don't you play that one by Vinícius?

That's a good one.

It's not exactly ready yet, but…

It sort of goes like this.

Oh, your mom!

For you!

When I grabbed that book that you left at home, I opened it.

I saw this poem right away.

ROSA DE HIROSHIMA

It's a really powerful poem.

So I thought it made sense to add this melody

because there's a contrast there, right?

I couldn't think of much to add

because I think the beauty is in that contrast you mentioned.

Between the power of the poetry

and the simplicity, your voice singing in that very simple tone.

It could be nice.

Oh, that's beautiful.

That's good.

And now here.

There's that moment of the…

Is it getting good?

- Apolinário. - Gerson.

This is my dad, poet and cultural editor of the Última Hora newspaper.

He'll be a lot of help with publicity.

- Can we talk now? - Sure.

Alone.

Let's go over there.

He's the one who wrote "Amor" and "Primavera Nos Dentes."

December 10th.

What's this?

Our wardrobe.

João, a beard and a beret? No.

What?

It's a resistance symbol.

I've got nothing against the revolution, but let's not do the Che Guevara thing.

If you don't have a better idea, we're keeping the berets.

FANFARE AND BOREDOM

I'm thinking about removing some tables

and taking these things out back. That way we have more space.

Okay.

Where can I be?

Right here. This square meter is yours.

What do you think?

I think it's good.

But I'm going to do whatever I want in here, okay?

What are you planning on doing?

I don't know, Luli.

I just don't want to become a crooner in a band, you know?

That outdated thing.

Outdated, Ney?

There's no way to be outdated with those lyrics.

Oh, but everyone's already done

poetic lyrics, you know?

I want to do something different. I want to…

I don't know. Put energy into vibrating, into spinning.

Put my body into it.

I think you need a new name.

Oh, I agree with that.

Because Ney Pereira doesn't work. Ney Pereira is lame.

What's your full name, Ney?

I'll tell you. Check it out.

My name is Ney de Souza Pereira.

And what's your dad's name?

Antônio Matogrosso Pereira.

I like "Ney Matogrosso."

What do you think, Antônio?

Don't you have shoes?

Is that what worries you?

Are you using drugs?

Antônio.

I have used drugs, Dad.

- If you want to know. - It's against the law, you know.

What law? The military law?

I also like Secos & Molhados.

It's a different name. It's catchy.

Yeah.

I think it's pretty.

But I came to tell you that it's a scandalous band, Mom.

- Is it, son? - It is.

Scandalous.

I came to tell you so it doesn't freak you out.

You might freak out when you see me there.

Oh, yeah?

Just so you know, I might be naked.

It's true.

Come on, guys.

Sissy!

Gay!

Be a man!

Go fuck yourself, sir.

What's the deal, Moracy?

We think your behavior is going overboard, Ney.

They're saying that we're a homosexual band.

Tell them that you're not.

It's not that simple, Ney.

- We're a trio. - So I'm the problem.

It's not you.

It's your clothes, your makeup, your mannerisms.

My mannerisms.

Yeah, Ney, they're all feminine.

I don't feel like a woman there. I feel like an undefined being.

I'm experimenting. I'm a creature.

Yes. Personally, I find it beautiful,

but perhaps a little daring.

I don't know. I'm talking as an agent. It's not personal at all.

And you don't need to take the makeup off.

You might just tone it down a bit.

No.

I don't think so. I think I need to go even further.

And not just me. The three of us.

We don't want more attention. We've already had two songs censored.

Yeah? You're a hostage of censorship now, aren't you, João?

I don't agree.

I don't know what Gerson thinks, but I…

Stop, stop, stop the music.

You can't look at the camera.

Oh, I'm looking at the people at home.

But you can't.

Why can't I?

That's how it is on TV. Let's do another take?

Without looking, okay?

Go, camera! From the same point, okay? We'll continue from there.

Write this down.

He can't appear wearing a ponytail like that

and made up like a woman.

Moracy, show me a woman on the street with the same makeup.

The hips. They're moving too much.

Just keep the camera on my face.

What about that look?

What look?

It's the only one I've got.

How beautiful.

Must he sway his hips in a skirt?

It's not a skirt, Antônio.

They're belly dancer's pants.

Can't you see?

Do you know what androgynous means?

"The dictionary says, " Androgynous:

Common to man and woman."

So, are Secos & Molhados the explosion of a new musical trend

or a behavior?

Five minutes, all right, guys?

"WE CAME BEFORE THE BAND KISS"

- Five minutes. - Five minutes.

Fully booked. Sold out.

All the bleachers, chairs, seats, everything.

How many people fit here?

Around 20 thousand. But they're saying there are 20 thousand more outside.

Ney Matogrosso, the band's leader, says they exist behind the masks.

I'm coming!

Mr. Ney?

It's from Secos & Molhados Productions. They asked me to get your signature.

- Can you wait a minute, please? - Sure.

"João Apolinário Teixeira and João Ricardo. Partners."

"Provision of services. Employee."

Can you do me a favor?

Go back there, hand it to them,

and say I told them to wipe their asses with this paper.

- It's not just the swaying. Yeah. - Not just the swaying?

- All right, João. - I'm not saying that it's all we do.

- It's what it seems like. - Go on complimenting me.

I don't think you get…

- You want to split us up. - …that we have different roles.

You want to split us up, and you're going to accomplish that.

You're going to accomplish that, João.

- That's it. You did it. - I'm the one splitting us up, right, Ney?

João, you know what your father is doing, right?

You saw the contract. You read it.

- But someone needs to put things in order. - In order, oh…

Your father removed Moracy and took his place.

It's not like that.

Moracy didn't do the books properly.

- He was embezzling money. - No. No.

No, Moracy may be disorganized, but he's not dishonest.

He isn't.

- My dad's just trying to protect us. - Protect who? You?

Himself?

I don't know how you can go along with this.

This is wrong, João.

This isn't right.

It's too much pressure.

We got too big, too fast. It's scary.

It really is scary, João.

It's terrifying.

We lost focus.

We stopped writing music. We... What did we become?

A money-making machine, with everyone trying to get a piece of us?

That's sucks.

I don't want this for myself. I don't need this.

No.

I never did.

No, Ney, wait!

Let's think about it together.

Let's take a trip alone.

What are you doing, João?

What do you want? A belated honeymoon, huh?

I'm out.

- Good evening, everyone. - Good evening.

Thank you to all of you for being here.

I noticed that you've become more radical in your first solo project.

You think so, Fátima?

Don't you?

The newspaper Última Hora says you cavort provocatively on stage.

And that you tarnish the artistic class

that fought so hard to be accepted by Brazilian families.

I don't have much to comment on.

I don't read that newspaper.

Quiet, please. Continue, Fátima.

But, Ney, why do you think people attack you so much?

Because they can relate.

I think they see things that exist in them,

but don't know how to deal with them.

- That's why they attack me. - Ney, here.

Ney, please.

Don't you feel that it's you who has become aggressive?

Like a poisonous animal.

I like that.

Would you sing the hits by Secos & Molhados in your show?

It's a new phase, guys.

I want to talk about the beginning of something else.

I can sing what I want, the way I want to,

without interferences.

But what we saw on stage tonight was the denial of the old Ney.

It seems like it's not you.

Do you think that is shocking for your audience?

I hope my audience can see it differently than you.

- Enough. - I'll remove him.

That's enough. I will say one last thing.

My work isn't limited to Secos & Molhados, okay?

NEY MATOGROSSO REDUCES HIMSELF TO ONE LINE

HE SINGS ON HIS NEW ALBUM:

"I AM WHO I AM AND I AM NOTHING, A STORY HAS ALREADY BEEN TOLD."

I've said this so many times.

This is what you get from bringing people here.

What an idea!

Sleeping with a lit cigarette on a water bed?

I don't know what you're talking about. I came home alone.

It must've been Sandra.

Wow! I've never heard that before.

Sandra, that's called a doorbell.

He woke up uptight today.

You. Ney. It's the bastard coming to collect.

Bastard.

Come in.

Have a seat.

Sit.

You can choose.

Take whatever you want because I'm all out of money.

I'll get some coffee.

- How much debt is left to pay? - I don't know. I don't know.

I just know that the money I have

is covering the losses from the show.

I knew things wouldn't work out with that manager.

Has any manager ever worked out?

You're always firing someone.

Do you know what I think?

I think you've been too tense since you left Secos & Molhados.

It seems like you're trying to prove that you're capable

of doing everything and existing on your own.

Why are you telling me this?

- Don't you think I'm capable? - Of course you're capable. That's not it.

You're just so worried about the critics that you forgot about the audience.

People want you on stage.

They want you alive.

On fire.

I want that too.

So stop acting like an animal.

Become a person.

It's already worked out. It worked.

Hottie!

Hottie! I love you!

Yummy!

Sexy!

Sexy!

- Take it off! - Ney, I love you!

I love you!

You're delicious!

Take my clothes off, Ney!

Wow. Was the show good?

- It was wonderful. - I loved it.

Some people want to talk to you.

Who?

They're censors.

Good evening. Excuse us.

We came to make some observations about the show.

By all means.

Well, some of your gestures are somewhat salacious. Don't you think?

Yeah, I know. But it's on purpose.

This is a revue theater show.

Yeah.

But in the South, it's okay. Up here, it doesn't sit well.

Northeasterners aren't ready for that.

Especially when you...

- When you do that… - Shake your pelvis.

Yes, that. When you shake your pelvis.

It's funny because I just got back from Teresina.

- The show was great, wasn't it, Luiz? - Yeah.

I thought that Recife was a little more open-minded.

How many times do you do that back and forth?

- What? - The pelvis sway. How many times?

How many times?

- Luiz, I think... - Six?

I think that's it. Six times, more or less.

So do half.

Three times is fine. There.

All right. Okay.

Message given.

You have a good night.

Congratulations on the show.

What…

- Why did you say six times? - What should I have said?

I don't know, 20! You should've said 20.

- Today. Today. - Today?

There were over a thousand people. There's a lot here in the hall.

Hello, everyone. How are you? Calm down.

Let's organize an orderly line,

and he'll talk to all of you, okay?

- Hey! - How are you?

Let's back up just a little more.

Hey. Yes, you can take a picture.

So, how are you doing?

- Did you like the show? - I did. It was wonderful.

- Corporal Dias, remember? - I do.

Wow.

Imagine Corporal Dias watching your show today.

It would mess with his little head.

Did it mess with yours?

And how…

You're brave, Ney.

Why do you say that?

I… I got married and had a kid.

I followed the protocol.

Are you happy, Cato?

I love my children.

- Good. That's good. - Yeah.

You're still the same to me, Cato.

- Oh, yeah? - Yeah. The same Cato.

Alive.

Happy, handsome.

I have to go.

It's already morning.

That's that.

Here we are once again, Cato.

Saying goodbye.

It was good to see you.

It was good that you saw me.

Give your kids a kiss for me.

Okay?

Excuse me.

Good morning, Ney.

Hey, time to wake up. Are you going to spend all day in bed?

Hey. Here.

- What's this? - Don't you want it?

How many glasses?

I never know how many people I'll find here, Ney.

What time is it?

It's almost noon.

Oh, it's early.

For the love of God, Ney, early? Early, seriously?

You have no idea how much has already happened in this house.

The president of Flamengo called you early in the morning.

He's inviting you to watch a soccer game at Maracanã.

There was also a lady who wouldn't identify herself.

But she called about a strawberry liqueur that you made plans to drink, Ney.

And it wasn't just the phone.

Some people came knocking on your door.

- No, Luiz! - There was a crazed fan.

Guess what she said she wanted to give you. A moped, Ney.

She arrived right when I was shooing away a bearded guy who smelled of booze,

screaming your name, saying he urgently needed to talk to you.

Lidoca only told me later that it was Raul.

Seixas.

Raul Seixas, Ney. I chased him away. Give him a call later. Make up an excuse.

- Luizinho, let me rest, please. - Take it easy.

But I haven't even told you the best news of the day. Look over here.

Look here, Ney. It's out.

Look. I picked it up early today at Mesbla.

It was wrapped in the "plastic of shame."

This censorship is absurd. Over such a beautiful picture.

I think the plastic promotes the work even more.

Yeah. It'll be a hit. I can feel it.

- It will sell out. - I hope so.

- Yeah. - Do you know why?

Because I'll take that money

and look for a place where I can have a little more privacy.

- Know what I mean? - I'll go with you, okay?

You had better take me.

- Hi. - Ow. Damn!

- What happened yesterday? - I can't tell you.

- So mysterious. - There will be a surprise tonight.

- Sure. - I'll tell you.

What is it?

Hey, don't mess around.

The guy is the heir of Som Livre, son of the all-powerful.

That little baby…

Little baby, dear? Yeah, right.

What's his name?

Cazuza.

Cazuza. And if you say his name three times, he'll appear.

- Oh, yeah? Cazuza, Cazuza, Cazuza. - Cazuza. Cazuza.

- Oh, we're done. Let's go. - We're done. Yeah.

Get off.

Should I wear pearls?

Don't move.

I keep wondering how many things you capture on your tiny camera.

I like taking pictures.

When I take pictures,

I frame mystery

and swallow it all.

I'm a hungry guy.

Be careful with what you do with those pictures.

You don't need to worry.

This is all just for me.

I love the new house, Ney.

I love it, love it, love it.

Did you like it?

But I don't want to hear about old stuff anymore, okay?

- Enough of old people. - Enough of old people.

Here, switch with me.

Here you go.

Like that. The two of you.

With drugs or without drugs?

With drugs. Hold still.

- Can I kiss you? - Why not?

Oh, Cazuza, let's go.

- Let's. - Let's go.

- Bye. - Bye.

- That's it. Bye. - Oh, all right.

Come, Cazuza. Come, Cazuza. Come.

Wow.

What is it?

I felt something…

That I hadn't felt in a while.

Just being with one person and feeling good.

I think someone is in love.

I'm sure of it.

- Do you want a hit? - No.

I do.

I'm not cut out for it.

- Yeah? - To suffer for love.

I don't.

- Do you? - Of course, you suffer.

- When you fall in love, you suffer. - Of course, I don't.

And you suffer a lot.

You become a hostage of that person and you go all the way.

- You suffer. - Suffer.

You have to enjoy suffering.

Give me a break.

Do I become someone's hostage?

I won't be anyone's hostage.

For me, love is a prison that I choose to invent my own freedom.

It's much simpler. Love is a utopia.

A utopia that's born in the body.

It's physical, palpable.

Palpable, Cazuza?

I think love is in the smell, you know?

In the scent of the other person's body. The feet at the end of the day.

The mouth early in the morning.

We're animals. We need to sniff in order to feel.

That's it!

Who wants to sniff like animals?

- Where are you going? - Anyone here?

- Who wants to sniff like animals? - I do, love.

Iara.

Have you seen Cazuza?

Everyone's asking if I'm okay.

Don't I seem okay? Huh?

- Fuck off. - Hey.

- Come here. - To where?

- Over there. - To where?

- Let's go together. - I'm not going home, Ney.

- Come with me. Come. - Get off, Ney!

You're so clingy.

- Baby! - Hey. Hey!

- Come on. - What's up? Am I a ghost?

No, no, no. No, Cazuza.

Come in.

No. Who are you? No!

Just one last hit.

What's with the look?

You've been gone for three days.

And you show up with a drug dealer in tow.

- He's not a dealer. - He's doing coke on my table.

He's a friend of mine.

Okay. So I'd like to ask you and your friend to leave, please.

- Aren't you happy to see me? - I want you to go.

- I don't have to go. - Get out.

- We just got here. - And I want you out now.

We're staying the night.

- You're sober. - No.

- You're sober. - You stink.

And you're sober.

- So self-righteous. - I'm what?

- A little moralizer. - You know nothing about me, boy.

- You know nothing about me, boy. Nothing. - I know everything about you.

Are you an animal or not? Well?

Aren't you an animal?

Get off.

Give me a kiss. Come here, daddy.

Get off, Cazuza. Get off!

- Get out, kid. Take him away. Enough. - Leave him there.

- Stay here. - Enough.

It's just talk.

No!

Damn it, Ney!

- Fuck! My coke! It's my coke! - Take him!

- Take him! - Get your hands off him! Damn it!

Out. Get out. Stop, Cazuza.

- Take your hands off me. - Stop.

Go hit someone else, damn it.

- Come on, then. Hit me here. Look. - Is that what you want?

Get out!

- You piece of shit. - Let go!

You're not well, man. You're not well.

Damn it!

Leave everything ready to record, okay?

Mazola.

I have a feeling that I'm not…

I don't know, man. I'm not feeling comfortable…

- Ney, Ney. I can't hear you. - This song. It's not…

I can't hear you, Ney.

Go to the microphone. Into the microphone.

The song is great. The song is great.

It'll be the hit of the album. I'm telling you.

Yeah, whether it's a hit or not, I'm not worried about that.

Let's do this.

Let's put your vocals over the track and see how it sounds.

You know me. When I don't like something, I can't function.

It didn't resonate with me, you know?

I know, love. But it doesn't always resonate right away.

Give the song a chance.

You... Let's do this.

Record it,

listen,

think about it,

show it to someone, whatever you want.

If you don't like it, we can talk later.

Okay. If...

If I don't like it, it won't go on the record. Okay?

Okay. Awesome, let's record it. Come on, let's record it.

It's really awesome, Ney. Put it on the record.

Gonzaguinha, I'm not from the Northeast.

It's a forró. I've never sung forró.

You know? I feel, I don't know, like an imposter.

I don't think you need to worry about that.

The son of the king of baião is saying that.

The thing is,

I keep thinking that if you don't record this song,

who will record it?

Pay attention to the lyrics.

When you sing them, it takes on a new meaning.

Exactly.

Because then it mocks, provokes, twists the meaning.

It's excellent.

Ney, imagine this on stage.

Mineral water!

- People are going to a party. - Oh, yeah?

Are you up for it?

Are those legs going?

Sexy.

- I think I'm going to take off. - Don't.

Stay.

Stay.

Dr. Marco de Maria.

- Is that what you were thinking about? - It was.

- What's wrong? Doesn't it suit me? - No.

I think there's a lot of "mar" in your name.

- I had never noticed. - There's too much "mar."

Shall we go for a swim?

- Come on. Your doctor's telling you to. - I don't trust.

- Oh, you don't trust me? - I don't trust the sea, Marco.

You are completely different from who you are on stage, you know?

What did you think you'd find?

I don't know. I thought you were more…

Impulsive.

I don't know if that's the right word. "Explosive" maybe.

The stage is my costume.

It's…

I don't know, it's my release valve.

I think it's where I put on my mask so I can let loose.

- You know? - Yep.

Is that where you release your demons?

I do. I release them all.

I try to free people from their repression and myself as well.

And the real Ney?

- The real Ney? This is the real Ney. - I know.

But what does he want?

I don't want a lot.

I want a piece of land, water,

animals, nature.

I'm in, you know.

- Oh, yeah? You're in? - Yeah.

Now, let's go for a swim.

- Come. - No.

A quick dip. A dip cures all.

- Okay. Should I go? - I promise. It cures all.

- I'll wait for you. - You keep watching.

Go for it, Dr. Marco.

Check out those legs, Daddy.

I can't believe it.

I want him.

Check out his smell, look.

Go ahead, help yourself.

- Won't you be jealous? - Me, jealous? Cazuza.

Not even of me?

- You're the cross that I carry on my back. - So carry me.

- Call him. - Marco!

Marco!

Did he see me?

Oh, he saw you.

Well, I made what I could with what there was, okay?

Which was nothing.

Ney, I'm being serious. You need to eat better.

You can't spend all day at the beach with only an egg yolk in you.

Speaking about the beach,

Cazuza is going to look you up.

Who?

Cazuza.

I saw you looking at him.

- It's a pleasure. Marco. - Cazuza.

Oh, your ex?

- No, he's not my ex. - No?

- No. - What is he then?

He's not mine, nor yours. Nobody's anyone's property.

What does he want?

- To have sex. - What?

What, Marco.

He asks you for permission to have sex with me.

He didn't ask permission. He let me know.

It's different.

But I have no problem with it. Go for it.

Meet the guy.

You know?

But do we need to keep talking about this?

We can not talk about it too. Doing it secretly is hotter.

- That's not what I'm saying. - Don't you prefer that?

Should I let you have the details too?

Tell me what you want to tell me.

- You'll want to hear it all. - I don't want to hear it all.

No way.

- I just want to hear the good stuff. - Maybe I'll tell you.

Maybe I won't.

Wake up, cross!

- Come on, Ney! - Wake up to make money!

Come on!

Wake up, so the day may be born happy. I'm going to record this song.

- No, you're not. - I am. I am.

- No, you're not. - I am, Caju.

- Don't you want to be on the radio? - It's the band's work song, Ney.

- You're not. - It'll be mine too.

TIHANY CIRCUS 1984

Sexy!

Oh, no.

Hottie!

- Hi, Mom. - Hi.

My mom.

How is he doing?

He's sleeping.

I won't wake him up.

If you let him, he sleeps all day.

The medication is strong.

Mom, let me help you.

- I'm used to it, Son. - No, I'm going to help you.

Get another... Another cutting board.

What about him, Mom? Is he being a handful?

You know your dad. He only does what he wants.

In fact, the two of you.

- Cut from the same cloth. - Yeah?

Are we a lot alike, Mom?

Yeah…

Stuck in their way,

wary,

stubborn.

I know all too well.

Sergeant Matogrosso.

Mom, sometimes I think the greatest authority figure

I've ever faced was my dad.

It seems like everything I've done, the choices I've made…

It seems like it was just to go against his will.

And you went against his will a lot.

But he learned from you too, Son.

Do you think so?

I remember the first time we saw you on stage.

When we got home, he went to look for your record.

He kept listening to it really loud.

I asked if he had liked your show.

And then he said…

- Ney is a great artist. - "Ney is a great artist."

He said that?

I was too hard on you, Ney.

I regret that.

There's no need for that, Dad.

Let's not relive things.

That's the past.

Right?

We're here now.

You're here.

Ney Matogrosso…

My son.

Don't miss it. It's just this Thursday, Friday, and Saturday.

Jornal da Tarde starts now.

A mysterious disease,

totally unknown five years ago,

has become the most violent epidemic of the century.

The syndrome is fatal.

So far, there is no cure.

The AIDS virus is not in the air or the middle of the street,

but it has taken control of the lives of the population of big cities.

Between three and ten million people worldwide

are infected with the virus,

according to the World Health Organization.

Brazil has recorded 2,775 cases so far.

The Health Ministry informs that…

Hello.

This is he.

When was this?

Who was it this time?

Ney.

"O Nosso Amor a Gente Inventa."

"Todo Amor…

Que Houver Nessa Vida."

"Vida Louca."

"Vida Fácil."

"Eu Preciso Dizer Que Te Amo."

- Tell me. - I love you.

"Exagerado."

"Faz Parte Do Meu Show."

I like this set list.

I really do.

I think these songs

say what you think about the world, about life.

I'm glad you agreed to direct this show.

It could be the last one.

You don't need to say that.

I'm weak, Ney.

Yeah, but your ideas are strong.

I wrote a new song.

But I don't know if it'll fit in this show.

Sing it to me.

That song has to be the last one of the show.

I can't understand.

I didn't do anything differently from anyone else.

It doesn't matter, Ney.

You're free.

- That's a relief. - A relief for whom? What relief, Marco?

Relief for me, Ney.

You know very well that I could've...

Sometimes I feel as if my body is a weapon.

Do you see?

No.

That's what they want us to feel, Marco.

It's how they want us to feel. It's not...

It's not your fault. It's nobody's fault.

Do you still want to be with me?

What question is that?

You might not handle it, Ney.

I'll become skin and bones.

I'll have stains on my skin.

Sores.

My hair will fall off.

Some faint from so much vomiting.

They have chronic headaches, cough up blood.

- Uncontrollable diarrhea... - Stop. Okay. That's enough.

It's real, Ney.

It's what will happen.

It's what happens. No doctor can save you.

- This virus came to kill us. - No.

No. No!

It came to show that we exist. That's why.

That we're human.

All right? That we love.

- I love you, Marco. - I love you too.

I love you.

I'm here.

I'm here. All right?

- No, no, no, no. - This is how I am.

- This is how I am. - Yeah.

We will get through this together.

- I can't take it if you're like this. - No, I'll be okay.

I love you.

Through here.

I always come this way, you know?

I've always wanted to see this land.

- Has it been for sale long? - Not long.

The previous owner tried building a road here.

But rocks and tree trunks fell with the first rainfall.

Oh, yeah?

Then the woods took over again.

Yeah…

Nature speaks.

This river flows way down there.

It crosses the entire property.

- What's the name of the river? - The Mato Grosso River.

FOR NEY MATOGROSSO,

FOR DARING TO BE FREE.