"Satyrianas, 78 horas e 78 minutos" entertains and sparks reflection
- Regina Campos
- Oct 3, 2012
- 2 min read
Documentary competing at the Rio Festival explores a theatrical marathon dubbed the ‘Paulista Woodstock’
RIO – On its fifth day of competition, with no clear results or certainty in sight, Première Brasil took a leap into the theater world with Satyrianas, 78 Hours and 78 Minutes. A contender in the documentary category for the Redentor Trophy, this São Paulo-based production is directed by Daniel Gaggini, Fausto Noro, and Otávio Pacheco, capturing an event known as the "Paulista Woodstock"—the Satyrianas theater marathon, organized by the Os Satyros group.
More than just a festival showcasing different theatrical styles, this artistic celebration serves as a cultural occupation movement at the newly renovated Praça Roosevelt, aiming to establish the space as a hub for artistic expression in Brazil’s largest metropolis. However, the film’s hybrid approach—part documentary, part fiction—embraces creative chaos, blurring the lines between reality and storytelling.
To convey the uniqueness of a three-day, six-hour non-stop event, Satyrianas, 78 Hours and 78 Minutes adopts a surreal premise that is quickly revealed as a playful construct. The storyline follows an Italian filmmaker, who has built his career in the United States, invited to São Paulo to document the event in its entirety. From the outset, the filmmakers make it clear that this "commissioned film" is a fictional device within the real documentary crafted by Gaggini, Noro, and Pacheco.
The result is a mockumentary interwoven with real interviews, where intellectuals discuss the importance of theater in revitalizing Brazilian culture. Interestingly, the identities of these interviewees remain anonymous, treating them as "characters" rather than real-life speakers, further distorting the documentary’s conventional boundaries. Among those interviewed are playwrights, directors, actors, and critics such as Rubens Ewald Filho, Mário Bortolotto, Gero Camillo, Hugo Possolo, Aimar Labaki, Roberto Alvim, Ivam Cabral, Raul Barretto, and many more.
Each statement sheds light on the impact of Satyrianas on São Paulo’s artistic evolution, helping the film map out a changing cultural landscape. The interviews creatively mix dramatic storytelling with factual insights, making them as engaging as they are informative. One of the film’s most entertaining moments comes from Ivam Cabral, who humorously recalls a notebook filled with Silvio Santos’ phone numbers. The documentary's fast-paced editing keeps the audience engaged, skillfully balancing entertainment and critical reflection.
The film’s biggest misstep lies in the segment dedicated to Zé Celso Martinez Corrêa’s Teatro Oficina, which feels overly long and disjointed compared to the otherwise well-paced and humor-infused narrative. However, despite its imperfections and bold stylistic choices, Satyrianas, 78 Hours and 78 Minutes serves as a lively and vivid chronicle of a theatrical revolution, capturing the spirit of an ancient art form undergoing transformation.
Published on: October 3, 2012
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