Aquarius and Bacurau director Kleber Mendonça Filho’s The Secret Agent weaves a complex, time-jumping political crime thriller, focusing on one man’s experience of persecution.
Mainly set in the late ’70s in the Brazilian writer/director’s hometown of Recife, Pernambuco, but moving fluidly between the past and present, the film predominantly takes place in the tumultuous years of Brazil’s military dictatorship. It’s a heavy topic explored with humanity, boasting such a compelling script, impeccable acting, and striking 1970s aesthetic that it’s impossible to look away.
In the lead, Narcos and Civil War star Wagner Moura gives a tremendously interior performance as a man justifiably paranoid in his mission to escape his country’s authoritarian regime. There’s a reason Moura took Best Actor at Cannes, with Mendonça Filho snatching Best Director; The Secret Agent sees both dive headfirst into the complexities of rampant corruption and desperately searching for a way out.
The Secret Agent flicks between past and present to craft a complex narrative.
Credit: Victor Juca
Over three acts superbly edited by Eduardo Serrano and Matheus Farias, Mendonça Filho’s film runs on multiple timelines in the past and present. In 1977, we meet Armando (Moura), who’s going by the alias Marcelo, a man newly arrived in a residential complex in Recife during the annual Carnival period. A small Kodak box fits all of his possessions, and he gives little away about himself. The apartments are run by vigilant matriarch Dona Sebastiana (Tânia Maria), and Armando is welcomed with open arms. Among omnipresent Carnival celebrations, Armando is warmly introduced by his septuagenarian guardian to his neighbours. They’re also political refugees, though not all enjoy using the term. There’s Thereza Vitória (Isabél Zuaa), who has fled the Angolan Civil War with her partner; there’s single mother Claudia (Hermila Guedes) whose past beyond her dental profession remains her own mystery to bear. Many live under threat of death, like our protagonist.
Meanwhile, corruption runs rife through the city streets, as do careening cop vans full of crooked officials, hooting, hollering, and unabashedly lawless. The most prominent in The Secret Agent is police chief Euclides (Robério Diógenes) and his bodyguard-like sons Arlindo (Ítalo Martins) and Sergio (Igor de Araújo), who enter the story by being pulled out of Carnival when a man’s severed leg is found in a dead shark — and this is by no means the limit of the violence ahead in The Secret Agent.
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Slowly, the film reveals the seriousness of Armando’s situation: he’s a widowed university professor, specialising in electrical engineering, who is fleeing persecution amid the country’s military dictatorship. In his past, standing up to corporate greed and corrupt government bureaucracy has left him vulnerable and robbed him of his beloved wife Fátima (New Bandits‘ Alice Carvalho). Getting out is no easy feat, as corruption, surveillance, and sinister men orbit Armando at every turn — including two unnervingly unflappable hitmen, Bobbi (Ferrari‘s Gabriel Leone) and his stepfather Augusto (Roney Villela), on his trail.
As well as Dona Sebastiana, others work under the radar to help those persecuted escape the country, such as Elza (Vermelho Monet‘s Maria Fernanda Cândido), who offers a form of witness protection, promising passports in a few days. A placement within the city’s Identification Institute is Armando’s best chance of finding physical proof of his mother’s identity before he leaves Brazil with his young son, who lives with his grandparents.
In the present, two young investigators in São Paulo listen to cassettes of recorded conversations from Armando’s time, and we’re left wondering where exactly their research is leading. Here, and through Mendonça Filho’s use of archival photographs, the film becomes a fictional artifact in itself, a story worthy of study and examination. But it’s the lived-in performances by the actors themselves that bring this unstable historical period to life, with Moura out front.
Wagner Moura gives a tremendous performance in The Secret Agent.
Tasked with multiple roles across time periods, Moura earns every inch of his Cannes Best Actor award in The Secret Agent. The role was specifically written by Mendonça Filho for him, after all. A classic hero brave enough to challenge powerful, corrupt entities while rightly fearing for his life and his family, Armando predominantly internalises the level of serious threat constantly weighing on him. Moura’s subtlety and frustration imbues our protagonist with a deeply human valiance, one that makes us as viewers want to protect him at all costs.
Embodying a true ensemble affair, The Secret Agent sees Moura surrounded by bold, outlandish performances, all the way from iconic German actor Udo Kier as expat tailor Hans to Greta star Diógenes as the city’s corrupt chief of police. Notably, Armando finds sanctuary with his father-in-law Sr. Alexandre (a wonderful performance by Bacurau‘s Carlos Francisco) who owns the local Cinema São Luiz, showing Brazilian films alongside American horror films like Jaws and The Omen that cause outright hysteria in audiences. Here, and through Evgenia Alexandrova’s exquisite cinematography, you can feel Mendonça Filho’s reverence for cinema as a filmmaker, critic, and curator — and its importance in turbulent times. In fact, The Secret Agent is a perfect pairing with the director’s 2023 documentary Pictures of Ghosts (Retratos Fantasmas), which traces cinema in his hometown of Recife.
The Secret Agent runs on a striking ’70s aesthetic.
Credit: Victor Juca
Despite the paranoia and corruption that pervades the narrative, Mendonça Filho’s film is a stunning ’70s affair. Shot in anamorphic Panavision, it’s nothing short of a feast for the eyes (before it’s not). Each scene comes awash with the decade’s signature oranges, browns, and yellows, with production designer Thales Junqueira’s meticulous work on full display. Architect Chu Ming Silveira’s iconic, egg-shaped, yellow public phone booths known as Orelhões (or “Big Ears”) form a vital part of both the storyline and city landscape, while costume designer Rita Azevedo finds glorious authenticity in period-specific outfits.
Despite the political upheaval on the ground, Mendonça Filho also reverently and accurately captures the visuals of Recife, with Armando taking in gorgeous cityscapes from the Cinema São Luiz projection room, bathed in sunlight, and the street scenes often focusing on the members of the community caught up in the chaos. There’s also a little magical realism thrown in for unexpected measure, and composers Mateus Alves and Tomaz Alves Souza pull everything together with an immersive, atmospheric score.
Ultimately, Mendonça Filho’s film explores a time of political corruption, violence, and warranted paranoia through a human lens, with the director saying in a press statement, “The challenge was to make a film about the logic of that time without ticking all the boxes of the dictatorship movie.” With Moura’s powerful performance framed by a reverent, authentic aesthetic, The Secret Agent is a deeply humanised look at a historical moment of authoritarianism and government corruption. It’s a must-see.
The Secret Agent was reviewed out of BFI London Film Festival and will be released in the UK and Ireland Feb. 20, 2026. The film hits cinemas in New York on Nov. 26, and Los Angeles Dec. 5, with nationwide release to follow.