originating in leftist student politics. In the CPCs Diegues started his career as a filmmaker. Diegeus later went on to become an integral participant of the Cinco Vezes Favela and produced the episode Escola de Samba: Alegría de vivir in 1962. Doing so, he criticized the Carnival and suggested workers should unionize and demand workers rights. His work painted a bleak picture of what was the reality. Depicting landlords and leaders in charge as figures who upheld an inequitable world. His film sparked mixed emotions, but most importantly, it gave the working masses hope for change. This was the beginning of an era in film known as Cinema Novo. In the 60s the films associated with Cinema Novo explicitly talked about the unfair treatment of people under the current status quo. The leftist ideas by filmmakers like Diegues and other important figures would allow the Cinema Novo to flourish. As the dictatorship reached full force in the late 1960s the CPC could no longer operate as regularly for the members. As a result, Diegues and other filmmakers were forced to redirect the paths of their careers. In his earliest works Diegues created Joana Francesa by 1975, when the dictatorship repressed and censored most of the media and entertainment industries. This film alluded to the ideas of inequality and injustice but it also garnered criticism by the left as they suggested it was not as intricate or heavily influenced by the social commentary Diegues had used before. After the regime's collapse Diegues returned to a more explicit approach he was once heavily praised for, however, he still produced films during the repression that garnered international attention such as Bye Bye Brazil. Filmography References External links Official Site The New York Times Bio 1940 births Pontifical Catholic University of Rio de Janeiro alumni Living people Brazilian film directors Brazilian screenwriters People from Maceió