TABLE OF CONTENTS

Chris Stults

Eduardo Coutinho, Cabra marcado para morrer (Twenty Years Later), 1964–84, 35 mm, black-and-white and color, sound, 119 minutes.

TALKING IS AN UNLIMITED RESOURCE; the ability to listen is always in short supply. The tragic murder of the Brazilian documentarian Eduardo Coutinho (1933–2014) this past February took from us one of cinema’s greatest listeners. Although he was born in São Paulo and shot his most renowned film—Cabra marcado para morrer (Man Marked to Die, 1964–84), released in the anglophone world as Twenty Years Later—in Brazil’s rural northeast, he spent much of his career eliciting and recording in film and video the thoughts and attitudes of a wide spectrum of Cariocas, as the residents of his adopted hometown of Rio de Janeiro are called.

Along with Boca de lixo (The Scavengers, 1992), filmed at a large garbage dump outside Rio almost two decades before the much-ballyhooed Vik Muniz documentary Waste Land (2010), Coutinho’s strongest work in the late 1980s and ’90s was an unofficial

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