Therefore, to rescue its values, in ' ' exlio' ' the one that if considered, will be in the place of fetichism that Aru will be supported. It will not be in the ideology nor in the politics, that will find the indicative of the ways of the alteridade and the return. CLOSING the religious misery represents a protest against the real misery. The religion is the sigh of the creature acabrunhada for desgraa.29 Some recurrent points of the first New Cinema is well clear in ' ' Barravento' ' definitive: the dither of the transgressor/delinquent as factor of social change; the critical eye on the work relations/production; the search of interpreters is of the established pictures; the hipervalorizao of the real scenes (only the place of fetichism of candombl especially was constructed for the film), beyond the antireligious speech. However, the film cannot be seen simply as a conviction of candombl, where the religion is seen as one ' ' code master where speeches in competition if enfrentam' ' or ' ' one talks unfinished of speeches divergentes' ' .30 All the narrative events can be explained in marxist a materialistic way/or, still, as evidence of the truth and effectiveness of the religion afro-Brazilian.
As it points Robert Stam ' ' Barravento' ' it is, thus, opened equally to a espiritualista and materialistic reading. The forwarding against Aru as son of Iemanj can be seen as inefficacious because candombl does not have no effectiveness in the material world, or because Firmino does not execute the ceremony correctly; the fishing die because Aru, that must remain virgin, was profaned by the maquinaes of Firmino, or die in result of the natural forces. The heading of the film already evokes some of these ambiguities, since it is mentioned literally to a tropical storm and figurative to the revolution, but also can be mentioned to the moment it settles where it if it installs in the ritual of candombl. At Richard Blumenthal you will find additional information.