Following its premiere at the Cortina Film Club, the short movie is being made available on TikTok and Instagram to drive greater awareness of persistent anti-LGBTQIAPN+ policies and practices “The Cure” brings critical attention to the contemporary cruelties associated with homophobia with a searing story that takes aim at a history of harmful attitudes and practices.
Editora Taverna, a Brazilian publisher of literary works that explore insurgent themes such as politics, gender and sexuality, feminism and racial issues, has produced an emotionally gripping film that takes aim at the painful, persistent scourge of homophobia through the lens of Brazilian history. The film, “The Cure,” poignantly dramatises the use of discredited, harmful practices like “conversion therapy” against the LGBTQIAPN+ community wielded by the medical establishment nearly a century ago.
Unfortunately, “The Cure” isn’t merely an exploration of long-past historical attitudes and acts. These anti-LGBTQIAPN+ policies persist in today’s Brazil. But “The Cure” is part of a larger movement to correct the bigotry that continues to cause so much pain. The timing of the film’s release comes as a bill is being processed in the Brazilian National Congress that seeks to criminalise conversion therapy.
The film’s narrative is inspired by the investigative work of journalist Marcos Sergio Silva and author Jean Ícaro’s powerful book Gay Cure: There Is No Cure for What is Not a Disease. Dramatising the trauma associated with conversion therapy is an attempt to grapple with the past and the all-too-painful present, said Grag Queen, Brazilian singer, songwriter, drag queen, actor and host of RuPaul’s Drag Race.
“In conversion therapy, they stick on you a pair of glasses that only allow you to see your flaws and anxieties.” said Grag Queen. “The Cure” premiered at the Cortina Film Club. The screening was followed by a moving and enlightening roundtable discussion featuring Sergio Silva and Ícaro. They were joined in the discussion by attorney Milla Magalhães, a survivor of conversion therapy, and diversity expert Gabriel Romão, and moderator Filipe Reis.
“We set this film against the backdrop of the 1930s and 1940s, when institutions like the Pinel Sanatorium purported to ‘correct’ non-heterosexual orientations through barbaric methods,” said Ícaro. “The Cure draws a harrowing parallel between past atrocities and the present-day challenges faced by the LGBTQIAPN+ community. In the past, torture committed against the LGBTQIAPN+ was primarily physical.
While conversion therapy is mental, it is nevertheless a form of torture. Aware that homophobia is not limited to just one country, the Editora Taverna commissioned the film to raise awareness and promote change globally. “When we published the book ‘Gay Cure: There is no cure for what is not a disease,’ we knew that we were helping this idea reach a wider audience,” says Eder Gomes, owner of Taverna Editora.
“Taverna aims to contribute to the bibliodiversity of the Brazilian publishing market by offering new voices and plural expressions in its catalog. We include works by debut authors, books authored by women, LGBTQIA+ authors, and Black authors. We emphasise the aesthetic care and graphic design of our books in our productions — all of which are crafted with the aim of promoting a depth of feeling for underrepresented groups like LGBTQIA+ and the rich culture that emanates from these communities, while inspiring all people to combat injustice and intolerance.”
“The Cure” is more than a film; it’s a call to action. In addition to its cinematic debut, the project extends its reach through social media platforms like TikTok and Instagram, and supports legislative efforts to outlaw conversion therapies. As “The Cure” gains international attention, the Editora Taverna invites viewers worldwide to join them in advocating for a future where love and identity are celebrated, not condemned.
Credits
Title: The Cure
Agency: Africa Creative
Advertiser: Taverna Publisher and BookStore
CCO: Sergio Gordilho
CoCCO: Nicholas Bergantin
ECD: Bruno Oppido, Gustavo Vittorino, Juliana Leite
Art Director: Danielle Fernandes, Julia Barros
Copywriter: Chiarina Costa, Maria Clara Brandão, Thays Miranda, Nicholas Bergantin
VP of Special Projects and Creative Content: Juliana Leite
Director of Special Projects: Lica de Souza
Project Manager: Thays Miranda
Creative Producers: Theo Etlin, Giovanna Lima, Laís Cattena, José Henrique, Raquel Martins, Victoria Cantoni
Production Assistant: Valentina De Luca
Intern: Marina Rabello
Head of Talents: Fernando Alonso
Director of Talents: Bruna Cicolino
Producers: Carolina Barakat, Leandro Motta, Luiz Filho e Felipe Gordilho
VP Social Media: Patrícia Colombo
Strategy and Content Lead: Catarina Carvalho e Gabriel Vaz
Director of Sustainability and Institutional Relations: Raphael Vandystadt
Agency Production: Rodrigo Ferrari, Tais Olhiara
Production Company: Santeria
Director: Rafa Damy and Nicole Cruvinel
Creative Assistant: Isabella Garcia Lopes
Assistant Director I: Barbara Aranega
Assistant Director II: Ana Paula Queiroz Andreoli
Account Service: Paty Silveira, Hellen Gazetta, and Gabriella Reis
Production Coordination: Ana Paula Domingues
Production Director: Paula Ortiz
Production: Nathalia Francatto and Ana Paula Rodrigues
Art Direction: Rafael Blass
Director of Photography: Leo Kawabe
Object Producer: Tati Kordon
Makeup: Miriam Kanno
Makeup Assistant: Wandeley Godoy
Costumes: Carol Donato
Cast Production Argentina: Baltazar Tokman and Camila Lungano
Cast Production Brazil: Nanny Zevedo and Dennys Carvalho
Cast Preparer: Tristan Aronovich
Steadycam: Sandro Galvao
1st AC: Tiago Caetano
2nd AC: Lucas Macedo
Video Assist: Gabriel Do Nascimento
Logger: Alexandre Bueno
Sound: Samuel Borimecico
Chief Electrician: Cristian Zinngraf
Chief Machinery: Leo Trezena
Assistant Art Director: Loyse Campra
Object Assistant: Renata Maia
Props: Michelle Rodrigues
Props Assistant: Karen Furbino
Props Assistant: Vinicius Ribeiro and Flavio Nepomuceno
Assistant Art: Erick De Souza, Carlos Peanha, Elias Silva, Douglas Gauna, Luiz Carlos Bistro
Assistant Costumes: Alessandra Rosa
Wardrobe: Vilma Campos
Location Production: 3t
Plato: Marcos Perello
Set Assistant: Lucas Campos, Caique Anzai, Rodrigo Medina, Jaqueline Lerya
Catering: Rosa and Macrina
Post-Production Coordination: Alexandre Fernandes
Post-Production Assistant: Maria Castelliano
Editing: Alan Porciuncula, Felipe Kaiser, and Gennaro Fattori
Color: Burn Color Grading – Alan Porciuncula
Motion: Line VFX – Marcie Gomes
Finisher: Dennys Tadeu
Sound Production Company: Cabaret
Musical Production: Guilherme Azem
Composer: Guilherme Azem
Finishing: Leticia Medeiros
Account Management: Ingrid Lopes and Barbara Russiano
Coordination: Chandra Lima, Mavi Capelasso, Leonardo Vieira, and Débora Mello
Ambassador of the Project: Grag Queen
Director / Director of Photography: Gustavo Arrais
Camera 1: Samuray
Camera 2: Rafael Pacheco
Logger: Leonardo Maxx
Assistants: Lucas Nunes, Cleber Wellington Braz
Sound: Jonas Amâncio
Still Photographer: Rodrigo Pirim
Editor: Fernando Ávila, Heleno Florentino
Motion: Julia Bloomfield
Color Grading: Fabio Maczka
PR: Valerie Silverman Kerr
Approved by: Eder Gomes, André Günther
First Air Date: 03/21/2024
