O Grito do Rio

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Two thousand fishermen, living in a 50-kilometer stretch of the coast of Rio de Janeiro, between Macaé and Cabo Frio, are threatened with paralyzing their activities. An anhydrous alcohol production plant, located on the banks of the São João River, is causing water pollution, with the indiscriminate release of "vinhoto", a by-product of sugar cane. It prevents the penetration of sunlight into rivers and compromises their oxygenation. Pollution, carried by the current, is already reaching the sea waters. Fishermen, scientists and technicians denounce the plant's procedure, which puts the health of the region's inhabitants and the traditional fishing economy at risk."

Roland Henze

Director

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Producers

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Budget

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Revenue

02-02-1981

Release Date

BR

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Age Rating

10 min

Runtime

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Director
Roland Henze

Roland Henze

Roland Werner Henze, Director of photography, producer and director. In the 50s in his hometown, he made Super-8, wrote film reviews for the newspaper "A Paz", founded a film club, organized festivals and film screenings. In the first half of the 60s, he was an intern for 5 years on German TV in Munich. He shoots documentaries for foreign TV networks, such as the North American CBS (New York) and the British BBC (London). Debut as an illuminator in the rural drama, Lords of the Earth. He creates the light for the tape in episodes “Um é pequeno ... Dois é bom”, the only feature length by director Odilon Lopez. Then, he photographed the musical Em Ritmo Jovem, the comedy Um Virgem na Praça and erotic comedies, as well as assistant director and photographer of the box-office hit Com a Cama na Cabeça. He is responsible for lighting the last film on the episodic Brutos Inocentes, by veteran filmmaker Libero Luxardo, whose filming took place in the city of Belém do Pará. In addition to his work as an illuminator, he is co-producer of the drama A Volta do Filho Pródigo, by Ipojuca Pontes. He is one of the illuminators of the documentary Copa 78, the Power of Football, about the World Cup in Argentina. His collection today contains invaluable images, which, from 1950 to 2006, recorded the evolution of cinema, industry, countryside, cities, cultural ethnicity, society, performing arts and the Brazilian political-economic structure.
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