Cidade; Campo is a 2024 drama film directed by Juliana Rojas. Starring Fernanda Vianna, Mirella Façanha and Bruna Linzmeyer, the film tells two tales of migration between the city and the countryside. In first tale: Joana moves to São Paulo and tries to restart her life, after a disaster floods her land. In the second tale: Flavia moves to farm in the country with her wife Mara, following the death of her estranged father.[1]
The film, a co-production between Brazil, Germany and France production companies, was selected in the Encounters at the 74th Berlin International Film Festival, where it had its world premiere on 19 February 2024.[2]
The film tells two tales of migration; one from country side to city and the other from city to country side.
In the first tale: Rural worker Joana relocates to São Paulo in search of her sister Tania and her grandson Jaime, after her hometown is devastated by floods. In the bustling city, Joana grapples with the challenges of precarious employment. Joining a cleaning company, she forms connections with her colleagues who collectively strive for better working conditions. Simultaneously, her bond with young Jaime stirs memories of her missing son.
In the second tale: Flavia and her wife Mara move to a farm after Flavia's estranged father’s death. In the wilderness, they struggle to start anew. As they inhabit the abandoned farmhouse, Flavia uncovers hidden facets of her father’s life. However, the harsh realities of rural existence shock the couple. Amidst the surrounding woods, Flavia begins to suspect something mysterious. Nature compels them to confront old memories and ghosts.
The film was produced by Dezenove Som e Imagens in co-production with Sutor Kolonko e. K. and Good Fortune Films.[3]
Thr film was bankrolled by FSA – BRDE, SP Cine, Film- und Medienstiftung NRW, Paradiso Prize, Locarno Gioventu Prize. It was also supported by World Cinema Fund, which was launched in 2004 on the initiative of the Federal Cultural Foundation and the Berlinale, and is one of twelve films invited to Berlinale.[4]
Olivia Popp reviewing the film at Berlinale for Cineuropa wrote, "Unfolding like a dialogue between its diptychal parts, the film’s slowness is its strength, with a meditative but never dragging pace easing the viewer into contemplation between the stories that, by themselves, would feel unfinished."[8]
