Trala Land

Short Digital Film – Drama – 2020 – Color


A couple breaks up, the husband visits a psychoanalyst, people walk down the street immersed in their cell phones. The three facts are intertwined thanks to a small and modest device, which takes everyone to an alienation zone.

Production Credits

Director and Writer: Hamilton Rosa Junior
DoP and Producer: Toni Ferreira
Camera: Carlos Garcia e Toni Ferreira
Editing: Mary Kuhn Hamilton Rosa Jr. Flávio Carnielli
Cast: Hélcio Henriques, Cláudia Menezes, Sérgio Vergílio, Luciane Aranha, Inês Fabiana, Ramiro Lopes.
Produced by: Rush Vídeo

Director’s Statement

Trala Land is the most personal project I’ve done in cinema so far. I played with the narrative, deconstructed the idea of art direction in favor of the actor, invented a protagonist who in the entire film only has one line, experimented with sounds and flirted with the mystery. Whether you like the experience or not, it was on purpose.. Taking risks, going against the current dictatorship of the narrative format and against the dictatorship of a standard of beauty. I love Trala Land because it takes on what the country has become: a farce A sinister, hideous and raw comedy.

Trala Land defines what Brazil is today. A joke that’s not funny. Forget what Jorge
Benjor sings happily: “I live in a tropical country, blessed by God …” That doesn’t exist. It’s all a lie.

In “Trala Land” it is shown how this happy Brazil only exists in the imagination.

Here, what we witness is a role model country for abuse. It is archaic, violent, unequal and one of the most corrupt in the world. It has a record number of femicides and abuses against transsexuals and other minorities. The Brazilian elite is dishonest and perverse, the middle class is conservative, sexist and easily manipulated, and the sad thing is that a significant part of the poor class accepts all of this. They continue to walk as a smiling herd of cattle..

Is there an alternative group? Yes, but this very large portion is not organized with the necessary eloquence and strength. And to take advantage, the official government uses the media to build the narrative that these opposing groups are violent and, therefore, should be criminalized.

United, today’s three social classes chose the current president of Brazil, a man who collects and brings together all the “qualities” listed above. The Brazilian people has turned dark and they have now found a way to hide their darkness: through their cell phone screen. The cell phone is the great comfort zone for us to say that everything is fine. Throughout the film, I tried demonstrating how people escape this reality by forging unrealistic situations. The cell phone is a perfect pacification machine. It kills the most genuine dreams, creates the art direction of a false truth and people, alienated, accept everything with a smile on their face.

I would love to be wrong about that, but you can just look out the window and see the herd of zombies walking.

Hamilton Rosa Jr.