A great film arrives: João Dumans and Affonso Uchôa's quietly magnificent ARABY

"Stick with it, please." I've said this before, but I don't think it has ever been more necessary or appropriate than with ARABY, the new movie from the writing/directing duo of João Dumans and Affonso Uchôa: If you stay with this quiet little film -- despite its leisurely pacing, refusal to overly dramatize, and a protagonist who suddenly shifts from the expected one to an entirely different person -- by the time you reach the conclusion of this 98-minute movie, you will have experienced labor, the workplace, love, life, death and maybe as close to the whole of humanity as any single movie is able to provide.

Filmmakers Dumans (above, right) and  Uchôa (above, left) build their small monument to the life of 90 per cent from this statement uttered by their protagonist early on: "In the end, all we have is what we remember." From this, they have crafted a tale that concentrates on but one man (Aristides de Sousa, shown below) yet takes in much of our world, building via an aggregate of detail to a conclusion that, though in no way surprising, still suddenly seems to expand into enormous compassion and understanding.

How in hell did the filmmakers manage this feat? As best TrustMovies can tell, it comes via a kind of visual and verbal poetry that, like all else here, goes nearly unnoticed -- until it suddenly begins resonating like crazy. (I may simply be slow; all this might resonate a lot earlier with you.) Maybe it has to do with that trickly transfer of feeling for a single human being into an understanding of humanity itself.

This is a Brazilian film, after all. I've long thought that Brazil seems to treat its people about as cavalierly, if not in downright uncaring fashion, as any supposedly "democratic" South American country. We see this in a government that spends oodles to host the Olympic Games only to put its populace in ever more dire straits. And via films from Elite Squad and its follow-up (that bang you atop the head with violence against the people) to the quieter, probing films of Kleber Mendonça, the great preponderance of humanity is alway given the shaft.

In Araby, this is true all over again, and yet via its protagonist and the people he meets along his journey of laboring-just-to-survive, we enter the world of the masses in a manner subtly different from other films. Here, it's via a kind of memoir our hero has composed (when we at last learn why and where he began this memoir, it becomes ever more meaningful and humane) that tells his story as best he is able.

The lovely, heartbreaking irony here comes from the fact that our hero, Cristiano, feels that he cannot communicate or express himself very well. Yet the filmmakers provide him voice and view so that he is able to give us everything we need to understand the love he feels, the loneliness he experiences and his constant need to not simply survive but to communicate.

I would think that there must be millions of workers in China and India -- hell, even some Trump acolytes here in the USA -- who could identify with and understand this movie.  There are no "labels" attached to any view here, and yet Dumans and Uchôa offer up enormous political commentary. By the time the film has come full circle, its impact has burgeoned into such collective power and momentum that, days after I've viewed it, I am still reliving and thinking about this movie.

From Grasshopper Film, in Portuguese with English subtitles, Araby opens this Friday in New York City at the Film Society of Lincoln Center, and then will hit another four cities on either coast, with -- one hopes -- even more cities to follow over the weeks to come. Click here and then scroll down to the bottom of the page and click on Where to Watch to view all currently scheduled playdates, cities and theaters.