Sérgio Mekler

Sérgio Mekler? Oh man, this guy’s been quietly weaving his magic behind some of Brazil’s more intriguing films. You might not see his name getting splashed around on billboards, but trust me, his fingerprints are all over a handful of movies that punch way above their weight. Let’s talk “Cazuza: O Tempo Não Pára” from 2004. That one’s a gut-punch biopic, digging into the wild, brief life of Cazuza, the legendary Brazilian rock star. The film doesn’t sugarcoat a thing—gritty, emotional, you feel that rawness right in your bones. Mekler’s approach? No melodrama, just honesty and a kind of bruised beauty. The music, the chaos, the heartbreak—he captures all of it with this intimate, restless energy. Jump to “Três Verões” (2019) and you get a totally different vibe. This flick peeks through the keyhole at the lives of people working in a wealthy family’s summer estate, and when things fall apart, the staff have to pivot fast. Mekler has this knack for bringing out that sly, subversive humor—there’s a lot going on beneath the surface, and he lets it bubble up in these blink-and-you’ll-miss-it moments. It’s clever, sly, and oddly touching. Then there’s “A Ostra e o Vento” (1997). That one’s a fever dream—moody, poetic, almost hypnotic. Set on a windswept island, it’s all about isolation, longing, and the fuzzy line between protection and control. Mekler’s touch here is delicate, never showy. He kind of lets the landscape and weather do half the talking. Honestly, if you’re into Brazilian cinema, Sérgio Mekler’s stuff is worth tracking down. It’s not flashy, but it sticks with you.