Classism, racism, sexism, and colorism are very real in the world of ‘Antônia.’ But the film shows us a fresh narrative of Black women succeeding despite living in a slum, despite poverty, despite violence and all the ills that pervade real life. For just a moment, I’m able to watch Black women who are free to be themselves. They don’t have to unpack external baggage based on a checklist of intersections involving their skin color, social status, or gender. That is a rare treat. It’s their tight friendship that sustains them. Music is friendship, and friendship is music.
Antônia Movie Poster
This guest post by Lisa Bolekaja appears as part of our theme week on Female Friendship.
Antônia is a Brazilian film from 2006 that I watch at least once a year. Its fictional female characters are ones that I consider my cinema family, ladies who I like to visit with for a spell and reminisce about rap music and female MCs. It’s an uncomplicated story, and perhaps even a little melodramatic. However it boasts one of cinema’s rare contemporary explorations of Black female friendship while navigating the hyper-masculine world of hip-hop. The simple slice-of-life storytelling using real-life female MCs resonates with authentic sisterhood.
Antônia chronicles the rise and fall (and rise again) of four young women from Sao Paulo who sing backup for a male rap group called “Power.” Scratching out a basic living in the Brasilandia favela are Preta, a single mom who recently left her cheating husband; Mayah, a songwriter into fashion as much as her lyrical prowess; Lena, a hardcore lyricist who juggles her music career with her insecure boyfriend; and Barbarah, a martial arts expert who lives with her closeted gay brother.
These four women, friends from childhood, named their group after their respective grandfathers who coincidentally all had the name “Antonio.” What makes them all so special to me is the fact that all four women have an exuberant agency and a nuanced security in their Blackness, which is refreshing to see onscreen. From their hair, clothing, skin color, to the way they walk and rap, there is a sense that they have never doubted that they were fly and worthy of respect. This confidence they display doesn’t come from the stereotypical and clichéd tropes of the sassy Black woman, or the Black chick with neck swiveling finger-pointing “attitude,” or the hyper-sexualized Black female dimepiece. Even the tiresome “strong” Black woman trope is absent in this film. These women are vulnerable, assertive, flawed, supportive of one another, and critical of one another. This confidence comes from their collective need to persevere in the face of undeniable hardships.
Walking above favela: Barbarah (Leilah Moreno), Lena (Cindy Mendes), Mayah (Quelynah), and Preta (Negra Li)
Although the film is only 90 minutes long–time for only light character sketches at best–the subtext I read is a world of complexity and pride beneath each woman. At one point, while waiting for a train after a late night performance, they sing a cappella about their love for the curl in their hair and being “Criollo” (Creole in the sense of being Black Brazillians who, like Black Americans and others outside of the African Diaspora, exist because of blendings of African, Native, and European blood). Mayah even raps this in one of her rhymes, which reinforces the notion of self, a self rooted in the pride and knowledge of Black cultural history. I’ve never really seen that in a contemporary film before.
While most American films featuring Black female friendships deal with misogyny, rape, drug use, damsels in distress, broken families, crime, poverty, and the often contrived horrors of being…gasp… single—flicks like Sparkle, Dreamgirls, Set it Off, Waiting to Exhale, The Color Purple, Daughters of the Dust, et al (notice that I had to reach way back for titles) — Antônia stands out as the one rare film where the Black women are the captains of their own ships, beholden to no one but themselves. Men support them, but don’t run them. They are sexual beings without being overwhelmingly sexual. (Mayah loves high heels and mini-skirts when she performs, but her attitude shows us it’s just for her pleasure and not for the male gaze.) Having a young child doesn’t deter Preta from performing; she brings her young daughter Emília to rehearsals where the women help care for her there and also outside of performing. Men don’t save them physically; they can handle male bullies with one kick from Barbarah’s Capoiera skills. Most importantly, they don’t wait for someone to discover them. Early on Mayah convinces the male rap group Power that the group Antônia has a hot song that they should consider opening their next show with. The guys agree and back them up. The women even tell the rap fans directly that they are feminist because they spit it in their lyrics to predominately male audiences. The real beauty is that their feminism is centered in a deeply Black female narrative vein. Alice Walker calls this being “womanist.” And the audience will deal.
Antônia surpasses the well-known Bechdel test and what I call the People of Color Agency Test: 1.) More than one Black person or PoC, 2.) Who speak to each other, 3.) About anything other than saving/serving White characters. That is the greatest joy I get from this film–watching beautiful, talented, and engaging Black women live their lives and cultivate their friendship without the heavy burden of structural racism brow-beating them All-The-Damn-Time.
The favela in the film is evidence of historical shenanigans. The scene of the women singing “Killing Me Softly” at a private and very White birthday party (because it’s less threatening musically) speaks volumes visually, especially when we know the group’s core audience is very Black and very rooted in the public streets. Classism, racism, sexism, and colorism are very real in the world of Antônia. But the film shows us a fresh narrative of Black women succeeding despite living in a slum, despite poverty, despite violence and all the ills that pervade real life. For just a moment, I’m able to watch Black women who are free to be themselves. They don’t have to unpack external baggage based on a checklist of intersections involving their skin color, social status, or gender. That is a rare treat. It’s their tight friendship that sustains them. Music is friendship, and friendship is music.
When an up-and-coming promoter and new manager of the group tries to shape Preta’s image into a solo career, one pleasing to a cross-over audience, Preta lets it be known that toning down her Blackness is not what she’s about. Singing mainstream pop hits is not her goal. Rap is. Without her sister-friends and their powerful energy, performing means nothing.
Mom and daughter: Emília (Nathalye Cris) and Preta (Negra Li)
The only negative criticism I have of the film is that I wish the music, the literal sounds backing the lyrics of the female MCs, was just as good as the tracks the men had. Scenes in a local hip-hop club bristle with a restless kinetic energy when male performers inhabit the stage, but for some reason, the backing track for the ladies’ signature song is softened to a listless and defanged pop sound. This music doesn’t match the fierce content of the lyrics. The writer/director Tata Amaral ran an open casting call for local female rap talent, and the casting of real-life MCs makes a huge impact on the performances. The actors, Negra Li (Preta), Cindy Mendes (Lena), Leilah Moreno (Barbarah), and Quelynah (Mayah) hustled for this dream in their real lives. They know how to spit fire on a mic. They wrote their own verses performed in the film and those verses deserved beats that slayed.
Ultimately it was friendship that brought Antônia together as children. Nurturing that friendship is the only thing that stabilizes their chaotic lives while hustling for the showbiz dream. The simple narrative and the real-life raw talent of the women playing Preta, Mayah, Lena, and Barbarah makes Antônia a rich film that broadens the role of Black female friendships in cinema. It’s the friendship that makes me watch this film so often. And as corny as it sounds, I also get a happy ending. Perhaps if there were more films showing Black female friendships being nuanced, vulnerable, and just plain regular (no Super-Duper Negroes, no Magical Saviors, no There-Can-Only-Be-Exceptional-Black-Folks), I probably wouldn’t have to watch it so much. Antônia will always be in my regular film viewing rotation. I wish I had friends like these young women. The Sistren are here. Don’t sleep on ‘em.
Lisa Bolekaja co-hosts a screenwriting podcast called “Hilliard Guess’ Screenwriters Rant Room” and her work has appeared in “Long Hidden: Speculative Fiction from the Margins of History” (Crossed Genres Publishing), “The WisCon Chronicles: Volume 8” (Aqueduct Press), and in the upcoming Upper Rubber Boot Books anthology, “How to Live on Other Planets: A Handbook for Aspiring Aliens.” She can be found on Twitter @LisaBolekaja
