Abstract

This paper intends to analyze the documentary film Fevereiros (Februaries), by Marcio Debellian, and its themes - such as the relationship singer Maria Bethania has with African-Brazilian and popular catholicism religiosities, with sacred and profane festivities, and with the Estação Primeira de Mangueira samba school - using as a starting point the critical debates about documentary cinema and Brazilian musical documentary film. Taking into account the issues involving filmic materiality, the present analysis intends to apprehend the invisible thread that the variety of sounds and music interweaves, in the musical documentary genre, with images and other resources available in the cinematic language.