O sertão está em toda parte: o sertão-mundo rosiano na adaptação fílmica de Abril Despedaçado

Abstract

In the novel Broken April (Prilli i Thyer), Ismail Kadaré narrates the last days of the life of Gjorg Berisha, sworn to death by the Kanun, the region's code of honor, in vivid descriptions of the harsh Albanian desert that blend with the reflections and feelings of the character. The film adaptation Behind the Sun, directed by Walter Salles and with a screenplay adapted by Karïm Ainouz, transposes the story to the backlands of northeast Brazil, following young Tonho on his way to certain death, this time blinded by the sun, and not by snow. In both works, we can find what we hereby call the sertão-mundo, a concept derived from the work of Guimarães Rosa, especially Grande sertão: veredas (1956). This characteristic, highlighted since the publication of the novel in discussions about the (trans)regionalism of the work and the author's use of space and time (LORENZ, 1991; LEONEL; SEGATTO, 2009; HOISEL, 2014), is discussed here in its relation to the transposition of the Albanian novel to the sertão. Therefore, we seek to establish relations not so much between Kadaré's novel and its adaptation, but between both of them with the recurring reflection in Rosa's work that the sertão lies within us.