You are listening to The Next Best Picture podcast, and this is my interview with the director and writer for the film Apocalypse in the tropics, Patri Costa, and the film's co-writer and co-producer Alessandra Orofino.

This city was designed as a vision of Brazil's future.

And the cement that held it together was a faith.

Not in God, but instead in the equally abstract ideas of progress and democracy.

I want to be a freedom of freedom of I want to be a pastor of a generation

that will change the history.

In the last 40 years,

evangelicals have grown from 5 to more than 30% of Brazil's population.

A rapid religious shift molded into an unprecedented political

force.

In my, in my, my, my religion.

We're going to be a majority absolute in Korea.

Hello, everyone, and welcome to the next Best Picture podcast where I'm being joined right now by the director of Apocalypse in the Tropics, Patri Costa, along with the co-writer and co-producer as well.

Alessandra Orofino, ladies, thank you so much for your time here today, and welcome to the show.

It's a pleasure to be here.

Yeah, so I want to just

say first and foremost, thank you for scaring the ever-living crap out of me with this film.

I know that majority of us over here and all over the world, many people were big fans of the

edge of democracy. In some ways, Apocalypse in the

tropics, while some will say it's a companion piece, I would even go as far as to say that it

feels like it's a sequel of sorts to that film. Would you describe it that way? How would you

like, you know, conceptualize it if you were talking about those two films in conversation with one another?

...