Private Project

The Good Will Come

Thirteen women, thirteen wombs, thirteen hopes, one photo. And amidst all that, a quest to find the women who fought for the right to thrive when their whole existence was constrained by the burden of managing scarcity in the Brazilian arid plains of Pajeú, during a severe drought in 1983.

  • Uilma Queiroz
  • Uilma Queiroz
  • Kika Latache
  • Livia de Melo
  • Vilarejo Filmes
  • Project Title (Original Language):
    O Bem Virá
  • Project Type:
  • Genres:
    Drama, Real Life, Resilience, Resistance, anthropology
  • Runtime:
    1 hour 18 minutes 59 seconds
  • Completion Date:
    December 10, 2020
  • Production Budget:
    30,000 USD
  • Country of Origin:
  • Country of Filming:
  • Language:
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  • First-time Filmmaker:
  • Student Project:
  • CachoeiraDoc

    December 12, 2020
    Brazilian Premiere
    Official Selection
  • International Documentary Film Festival Amsterdam - IDFA
Director Biography - Uilma Queiroz

Born in Brazilian arid rural plains of Pajeú, Uilma Queiroz had her first contact with poetry through her father’s verses. When she was 5, she moved to the urban centre at Afogados da Ingazeira, where she had intimate contact with local. Queiroz had her experience crossed by feminism, militating in various groups and collectives and articulated the Pajeú Women’s Forum. Thereafter this whole experience, Uilma idealized and directed her first feature-film: The Good Will Come, which is about women getting together and resisting against the effects of drought and sexism. In 2017 she moves to the Recife - a metropolitan city in Northeastern Brazil to have masters degree in History and improve her researches on women. Uilma Queiroz is a teacher, researcher, cultural producer, poet, filmmaker, a woman from arid and dry lands. She’s people. Nowadays, she cultivates Pau D’arco Productions along with Maria Samara de Almeida

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Director Statement

The documentary “O Bem Virá” arises from the meeting of country director and screenwriter Uilma  Queiroz with a photograph, dated 1983, that reveals pregnant women lined up in an emergency front in the rural area of ​​Afogados da Ingazeira, Brazil. The search for these women's stories diverges from the common sense of the drought often portrayed, based on poverty, laziness, scourges and withdrawals. Contrary to a perverse agrarian structure associated with the drought, the film announces the achievements of these women in terms of access to productive work, education and political participation. The documentary denaturalizes this narrative of fragility, by exhibiting a green backlands where the multiple struggles of these women for existing, print discourses and images that are not limited to resistance, but above all, emergencies of dignity.
The thirteen women not only open their house for an interview. They also open their hearts  to every question asked, answering not only with words, as the silence, the laughter, the crying  also say who they are and who we, as women in our diversity, are. Behind and in front of the camera, women. Interviews mirror us. In this way, “The Good Will Come” is more than a search movie: it is a conversation movie. Conversation between women. Like the conversations that social actresses had in 1983: under the scorching sun, between the work of emergency fronts, we talk about hunger, pain, domestic violence, love, motherhood, struggle, victories, but above all of the courage that we women have to live in the fight for the Good to come.