How To Survive a Dictatorship (feat. Wagner Moura)

Wagner Moura characterizes Brazil's military dictatorship as a 'civil-military dictatorship' because political organizations, elites, and civilian institutions were complicit. This highlights how authoritarian regimes gain power not just through military force but also through the capitulation and cooperation of various societal sectors.

You've characterized that in previous interviews. You've characterized that period as a civil military dictatorship... because there was a political organization, but also elites and civilian institutions were complicit in all of this.

Moura explains that films, once released, become an 'encounter' between the artist's original intent (often years prior) and the current societal context. This allows audiences to draw contemporary parallels and gain new insights into historical events, making the art relevant and impactful in evolving political landscapes.

films are always like an encounter between what an artist wants to say... with the present. And I always think that this is an interesting thing.

Moura identifies a global trend of 'strongman' governments tied to a specific idea of masculinity, where 'macho men' are presented as problem-solvers. He contrasts this with a different form of masculinity that protects others, suggesting that the rage and brutality of authoritarian enforcers often stem from deep-seated fragility and insecurity.

I think the the idea of of strong governments of strong men there is I think there is an idea of masculinity going on in the world right now... the idea of the the macho man that's going solv the problem.

Brazil's 1979 amnesty law, which forgave torturers and killers from the dictatorship, created a 'generational trauma' by preventing accountability and distorting national memory. This allowed figures like Bolsonaro to rise, as younger generations were unaware or misinformed about the severity of the past regime.

Secret Agent is a film about generational trauma... Brazil suffered of uh of generational trauma... In 79 we had a law called the amnesty law that basically forgave torturers and killers... Bonaru himself would never have been possible... if it wasn't because of that law.

Moura expresses deep concern over the current alignment of tech oligarchs (e.g., Facebook) with far-right political movements. He notes that what was once seen as a tool for progressive connection has transformed into a powerful platform for disinformation, where these entities have their own political 'project.'

The alignment of the attack oligarchs with the power that's the thing that scares me a lot in the US... I only understood the alignment of uh of of you know Facebook or whatever this this inst these guys with the far right with the right and with the republics and with and with the power in the way that they are now and they they all have they have a project themselves.

Drawing from Brazil's history, Moura asserts that civilian resistance, through acts of civil disobedience like recording events or whistleblowing, is essential to deter authoritarian governments. Without it, authoritarians 'roll over' populations quickly, especially during second terms when they feel validated.

there must be resistance we civilian resistance... civil disobedience and and and like basically what people in Minneapolis were doing... just sometimes just record something or blow a whistle or or like it's something that that shows to a wannabe authoritarian... that he they will face some sort of resistance otherwise they just roll over and it's real fast.

Authoritarian regimes not only physically eliminate opponents but also 'kill them twice' by destroying their reputation and memory. This tactic, observed in Brazil and with figures like Alex Prey and Renee Nicole Good in the US, aims to erase their humanity and legacy, making it harder for society to remember the truth.

this is also a film about infamy and exactly what you what you said like when when you kill someone twice, you know, because you kill you kill the person and then you kill the the their reputation.

Moura argues that authoritarian governments fear artists not for what they say publicly, but for what they 'do' – their creative output. Art has a unique ability to capture the hearts and minds of people, fostering empathy and shaping cultural identity in a way that political rhetoric cannot, making it a powerful tool against tyranny.

what fascists are afraid of is not they're not afraid of because they any fascist government they attack journalists they attack artists... they are afraid of what we do... It's his it's it's it's his uh talent and what that's what he was born to do and the way he did it.

Moura emphasizes the political importance of representation in media, especially for marginalized communities. Seeing actors with accents or from diverse backgrounds in prominent roles (like Diego Luna in Star Wars) helps children and communities feel a sense of belonging and validates their identity within a broader culture.

representation matters a lot... I love to see Diego Luna in Star Wars... like a Mexican little boy there in Mexico or like the Mexican communities or people that speak Spanish here in this country go like, 'Oh my god, there's this dude speaking with that accent and it's in the Star Wars world. I belong to that, too.'

Moura refutes the far-right argument that government funding for culture is wasteful compared to funding schools or hospitals. He asserts that no country develops without robust cultural expression, as art provides a mirror for society, fosters empathy, and shapes national identity, making it an essential component of a healthy society.

There's a big discussion in Braz about if the government should fund culture or not. Of course, the far right says it. No, we shouldn't... 'I prefer a school than a film'... That's a false choice... no country develops without that so the false dichotomy of like hospitals or films it's stupid because we need we need films we need books we need we need to see ourselves in our in our I love what's going on in Brazil right now.