SYNOPSIS: Set in 1977, “The Secret Agent” is a new political thriller starring Wagner Moura as an on-the-lam university professor who becomes involved with an underground freedom network during Brazil’s military dictatorship.
CAST: Wagner Moura, Carlos Francisco, Tânia Maria, Robério Diógenes, Maria Fernanda Cândido, Gabriel Leone, Alice Carvalho, Hermila Guedes, Isabél Zuaa, Udo Kier. Written and directed by Kleber Mendonça Filho.
REVIEW: Richly layered with political commentary, absurdist humor and thrills, “The Secret Agent” (originally titled “O Agente Secreto”) is an entertainingly convoluted tale of resistance against Brazil’s authoritarian government circa 1977.
Deliberately—read: unevenly—paced, the story focusses on 43-year-old engineering professor Armando (Wagner Moura). His study of lithium batteries put his life in danger when he refused to cooperate with a corrupt São Paulo government official who wanted the research for his own personal gain.
Now calling himself Marcelo Alves, he’s on the run, hiding out in the coastal city of Recife to be with his young son Fernando (Enzo Nunes). With the help of freedom fighter Dona Sebastiana (Tânia Maria), he gets a place to live and, ironically, a job at the Institute of Identification where he hopes to get a fake passport while he investigates the mysterious death of his mother.
First though, he must dodge the hired killers (Roney Villela and Gabriel Leone) sent by his old adversaries to tie up loose ends.
There’s more, lots more, like a human leg found in the stomach of a shark that becomes a surreal metaphor for the dictatorship’s atrocities, in a movie that refuses to settle on one genre. It may seem like a massive understatement that in the film’s opening moments it refers to 1977 Brazil as, “a time of mischief,” but it soon becomes clear that this is a mischievous movie, one unafraid to switch tones or genres at the drop of a hat as it careens to its dark, grindhouse climax.
The glue that binds the whole thing as it meanders through story and tone is Moura, playing both Marcelo and the adult version of his son. He deservedly won the Best Actor Award at the 2025 Cannes Film Festival for a performance that ranges from desperation to introspection to rage, sometimes in the same scene.
“The Secret Agent’s” meandering storytelling requires some effort but offers rich and unexpected rewards to patient viewers.
“Ferrari,” director Michael Mann’s long gestating look at the summer of 1957 and the existential crisis that plagued Italian motor racing pioneer Enzo Ferrari, both personally and professionally, goes flat out, even when it isn’t on the racetrack.
When we first meet Ferrari (Adam Driver) he is a cultural hero in Italy, but his company and marriage are falling apart. His advisors tell him he must take on a partner, like Ford or Fiat, and
Increase his consumer car sales by four times if he hopes to stay afloat. Trouble is, Ferrari wants complete control of his company, and that means no partner and concentrating on race cars, not street vehicles.
At home, his infidelity pushes his wife Laura (Penélope Cruz) to extremes. She doesn’t care if he sleeps around, just so long as nobody knows about it. When he arrives home after the maid has served coffee, Laura expresses her displeasure by taking a potshot at him with a gun she carries for protection. That is, unfortunately, the extent of the passion left in the marriage.
Unbeknownst to Laura, who is grieving the loss of their young son, Enzo has a long-term relationship, and has fathered a son, with Lina Lardi (Shailene Woodley), a woman he met, and fell in love with, during the war. As their son’s baptism approaches, Lina wants to know if the child will carry the name Ferrari, but Enzo has other things on his mind, like the imminent collapse of his company.
His financial advisor Giacomo Cuoghi (Giuseppe Bonifati) suggests entering the grueling, 1000-mile open road race, the Mille Miglia. A win would establish Ferrari supreme over their main rival Maserati, and hopefully encourage sales. “Win the Mille Miglia, Enzo,” Cuoghi says. “Or you are out of business.”
Working from a script by Troy Kennedy Martin, who wrote 1969s “The Italian Job,” Mann’s film feels like two movies on one. On one hand there’s the drama with Laura, Lina and the company. On the other is a piercing look at the dangerous world of racing, circa 1957. “It is our deadly passion,” Enzo tells racers Alfonso de Portago (Gabriel Leone), Peter Collins (Jack O’Connell), and Piero Taruffi (Patrick Dempsey). “Our terrible joy.”
The racing scenes are exciting, shot with verve and style, with a couple of unexpected turns (literally) that vividly capture the dangers of racing. But the racing scenes feel conventional when stacked up against the more complex portraits of Enzo and Laura.
Driver plays Enzo as a charismatic man of action, a physically imposing person haunted by the voices of those who have gone before him, his father, his son and racing colleagues taken too soon. It reveals a rich inner life hidden by his stolid façade. Driver doles out Ferrari’s personality in dribs and drabs; the contented lover with Lina, the hard driving boss with his racers and the stoic husband no longer in love with his wife. All aspects of this performance come packaged in the form of a man treated like a deity—a priest even refers to him as a “god”—but prone to real world failings. Driver captures the public and personal to create a complex portrait of a man driven by a variety of forces.
He is at his best when opposite Cruz. Laura is a supporting character in the story over-all, but her agony/rage for a loveless marriage, a son she was powerless to save and a company she co-founded but is unable to have a say in, is palpable.
You can’t make a movie about Enzo Ferrari and not include racing, particularly the career defining Mille Miglia, but Mann wisely keeps the focus on the interpersonal. “Ferrari” has race scenes, several very effective ones, but the memorable moments happen when Driver and Cruz put the pedal to the emotional metal.
