Luiz Carlos Barreto dies at age 98 Luiz Carlos Barreto, one of the central characters in the history of Brazilian cinema, died this Wednesday (22) in Rio de Janeiro. Known as Barretão, he built a career that spanned decades and followed the main audiovisual transformations in the country. Producer, director, photographer and journalist, he participated in more than 100 films and helped to consolidate Cinema Novo as one of the most influential movements in national culture. Born in 1928, in Sobral, Ceará, Luiz Carlos Barreto spent his childhood in Fortaleza. It was there that his passion for the screen was born, fueled by the long hours he spent in the city's cinemas. At a young age, he started journalism and ended up leaving Ceará after working for a newspaper linked to the Communist Party. In 1947, he moved to Rio de Janeiro, where he began the journey that would transform him into a reference in Brazilian cinema. Filmmaker Luiz Carlos Barreto Fabio Motta/Estadão Conteúdo Before finding his definitive path behind the camera, he almost pursued a career on the pitch. In Rio, he was part of Flamengo's youth teams and was called up to the Brazilian team that would compete in the London Olympic Games in 1948. The experience, however, was interrupted, and Barreto returned to journalism after serving in the Army. Meeting with Glauber Rocha opened the doors of cinema It was as a photographer that he gained national recognition. He worked in important publications of the time, such as "A Cigarra" and "O Cruzeiro", one of the most influential magazines in the country. As a photojournalist, he recorded historical events, including the victory of the 1958 World Cup by the Brazilian team and important moments in Pelé's career. His definitive entry into cinema came after his meeting with Glauber Rocha. The partnership led him to participate in "Assalto ao Trem Pagador" (1962), a film inspired by a real police case and considered a landmark in Brazilian cinema. From then on, Barreto became part of the group of directors who sought to portray the country's social contradictions and build an authentically Brazilian cinematographic language. His contribution to Cinema Novo was decisive. As director of photography, he created the images for classics such as "Vidas Secas" (1963), an adaptation of the work by Graciliano Ramos directed by Nelson Pereira dos Santos. To portray the aridity of the backlands, he opted for raw photography, marked by intense natural light. The film became one of the most important films of the movement and even competed for the Palme d'Or at the Cannes Festival. Paulo Autran in a scene from 'Terra em trane' Disclosure 'Terra em Transe' and the nickname 'baron of Brazilian cinema' A few years later, he returned to work with Glauber Rocha in "Terra em Transe" (1967), another milestone in national cinema. The intensely contrasting photography helped build the allegorical atmosphere of the film, which addressed political issues during the period of military dictatorship. Although he left his mark behind the camera, it was as a producer that Barreto expanded his influence. At the head of his own production company and also during his time at Embrafilme, he participated in the search for new financing models for the sector and was behind some of the biggest successes in national cinema. His ability to transform ambitious projects into far-reaching films earned him the nickname "baron of Brazilian cinema". Cinema also became a family enterprise. Alongside his wife, Lucia Barreto, and children Paula, Fabio and Bruno Barreto, he helped build one of the most influential families in Brazilian audiovisual. Among his most emblematic productions is "Dona Flor and Her Two Husbands" (1976), which remained for decades as the highest grossing film in the history of national cinema. He also produced titles such as "Bye Bye Brasil", "Memórias do Cárcere", "Inocência" and "O Beijo no Asfalto". Mauro Mendonça, Sônia Braga and José Wilker, in a scene from Dona Flor and Her Two Husbands Reproduction In the following decades, she continued to participate in projects relevant to Brazilian cinema. The Barreto family was associated with two of Brazil's Oscar nominations for Best Foreign Film: "O Quatrilho" (1995) and "O Que É Isso, Companheiro?" (1997). More recently, he produced works inspired by figures such as President Luiz Inácio Lula da Silva ("Lula, the Son of Brazil") and maestro João Carlos Martins ("João, the maestro"). Over more than nine decades of life, Luiz Carlos Barreto witnessed and helped tell part of Brazil's history. Photographer, journalist, filmmaker and producer, he was one of those responsible for bringing to the screen characters, conflicts and landscapes that helped define the identity of national cinema. His legacy remains alive in some of the most important works ever carried out in the country.