Aruanda (Linduarte Noronha, Brazil, 1960). Probably the seminal documentary influence on Cinema Nôvo, Aruanda concerns a quilombo, a community established by runaway slaves in the nineteenth century in Brazil's northeastern state of Paraíba. The film's crude production conditions and sunstruck cinematography seem to be a part of the lives it depicts-the dry poverty of the cotton culture-and for this it was a significant moment in Cinema Nôvo's "aesthetics of hunger." Photographed by Rucker Vieira. (20 mins)Viramundo (Geraldo Sarno, Brazil, 1964). A classic example of a direct-cinema documentary, Viramundo focuses on the mass migration of unskilled poor people from the rural zones of the Brazilian Northeast to São Paulo. The film itself investigates and questions; it "advances like a dialogue," as José Carlos Avellar writes, the camera "reacting as a person: participating in the conversation, cutting a sentence in the middle if the emotional reaction to what is said so requires, and placing one statement beside another in order to complement or contradict it, just as one might do in conversation." (34 mins)Memories of the Cangaço (Paulo Gil Soares, Brazil, 1965). (Memória do Cangaço). The cangaço was a movement of armed rebel-bandits in the backlands of the Brazilian Northeast in the 1930s. In Soares's film, the story of the most famous cangaçeiro, Limpiao, is told through song, legend, and documentary interviews. (30 mins)