"We Are Ambiguous, Complex Beings": Interview with "Son of a Bitch" Director, Otto Guerra

Eliane Gordeeff 18 June 2026

Son of A Bitch Otto Guerra animation film still

'O Filho da Puta' / 'Son of a Bitch', this new animation feature film by Brazilian director Otto Guerra, director of 'City of Pirates' (2018), one of the most complex films in Brazilian cinema (an article about it is here), departs somewhat from his previous works.

The film had its world premiere at Animafest Zagreb, where it received a Special Mention; it now screens at Annecy Festival (Contrechamp Competition).

In the small village of Veredas, stands "Casa Rosa", a famous brothel run by Ismael's mother. Because of this, he is known as the "Son of a Bitch". Trying to cast aside that reality, Ismael leaves his mother in pursuit of the two things he has never met: his dad and the ocean - Film Synopsis

Co-direction is not common in Brazil, and this film is co-directed by Erica Maradona (who also worked on 'City of Pirates'), Tânia Anaya ('Nimuendajú', 2025), and Sávio Leite ('Filly the Lesbian Little Fairy', 2017). They are from another central region of Brazil, while Otto is from the south. The aesthetic, despite being expressionistic and having a mocking script—characteristics of Otto—does not visually follow an image that we could call contemporary or cartoonish, like that of 'City of Pirates.'

However, it shows a strong influence from an art form originating from another Brazilian region: cordel literature. These are small notebooks, printed in black using woodcut techniques, with short stories told in rhyming verse. All of this, combined with the provocative title 'Son of a Bitch,' creates its own universe, which also speaks to universal issues: attachment, family, discrimination, selfishness, and the desire to achieve a better life.

ZF: 'Son of a Bitch' is an aggressive, direct, and politically incorrect title. Why did you choose this path? Did it come before the script, or was it a consequence of the story? Is there an intention to resignify the insult?

OG: The meaning of the title is literal, not an insult. Ismael is the son of Teresa, the owner of the brothel in the little city of Veredas. People in suits understand the title as an insult (so frequent), but it's not one. In the film, he is the son of a prostitute. I've already been advised to change the film's name, but I consider that the same as removing the monkey's name from the title of the film 'King Kong.' The title was a consequence of the story.

ZF: Has the title already caused negative reactions or attempts at censorship? How do you deal with this, especially considering distribution and age rating?

OG: Yes, the title bothers people. But we did some research on whether it was worth keeping it, since it attracts a lot of attention. I imagine we'll need to cover some parts of it on the poster and in the publicity.

ZF: Four directors with different backgrounds and styles. How was it to bring all that together, and how did you divide the tasks? Did someone take care of the script more, another the storyboard, another the characters?

OG: No, the script was broken down by the supervision and suggestions from all the directors, and there were many changes. Part of the film was animated in Minas Gerais and part in Porto Alegre. Animation doesn't have a fixed location, so it's easier to have other animation directors.

Son of A Bitch Otto Guerra animation film still

ZF: Okay, but how did you coordinate beforehand, or during the process, to ensure that the directions converged and didn't become misaligned? And how did this decision to work together come about? Did you make this decision, or were you called to work with them, in short... how did this arrangement work?

OG: I received this script in 2011. At first, I adapted it so that the story would take place in the south, in the pampas of Rio Grande do Sul. We even did a storyboard with a southern theme. But from my partnership with Tâna Anaya, I was convinced that the original story should be respected, and I consider this one of the best things about the film. Its focus on the sertão (backlands). Moreover, an excellent aspect of the partnership was the animators and actors from Minas Gerais.

Since the feature film 'Nimuendaju,' Anaya and I have been partnering between companies... Sharing animators and exchanging ideas. ´Son of a Bitch´ takes place in the backlands of Minas Gerais. So our joint work was a piece of cake. Moreover, the film's aesthetic is the work of Erica Maradona.

Another point was the budget: securing funding, with about 30% raised in Minas Gerais (by Tania and Sávio) and about 70% at Otto Desenhos. The combination resulted in a final product that places us at a new level of quality. The film premiered at Animafest Zagreb (it also screens in competition at Annecy Festival), and it was invited to other festivals.

Sávio Leite at Animafest Zagreb

Director Sávio Leite at Animafest Zagreb 2026

Erica Maradona with Otto Guerra

Tânia Anaya

ZF: Were there creative conflicts? Can you give an example of a good argument that improved the film? What did each person bring that was indispensable to the final result?

OG: Many good arguments. For example, in the original script, Ismael was illiterate, but we decided he could read. However, a large part of Brazilians didn't read at all. Bacalhau (the dog) also talked too much, narrating the film, so we greatly reduced his dialogue. Many discussions enriched the film. I enjoyed this experience of collective directing. The film succeeded in every aspect.

OG: How did you construct the protagonist? Is he a classic anti-hero or something closer to a contemporary "every man for himself"?

OG: Without a doubt, he is a liberal, a contemporary, and a selfish being. But the one who constructed the characters was Carla Guimarães, the screenwriter.

ZF: Aesthetically, the film follows the acidic and expressionistic style that marks your work. But this more Northeastern aesthetic surprised me, coming from the South and the co-directors from the Southeast region. How was it to choose this aesthetic and why?

OG: The aesthetic is the work of Erica Maradona. Indeed, her personal style is strongly influenced by the Cordel literature. She was the art director and is the daughter of a woman from Bahia, so she identifies strongly with the Northeast. It was a beautiful coincidence that she showed up just when we were starting the storyboard and animatic. Sávio and Anaya are from Minas Gerais, a state that's half in the interior and half in southeastern Brazil, so things worked out well.

Son of a Bitch Otto Guerra animation film still

ZF: Is the animation traditional 2D, digital, or hybrid? Were there any specific technical challenges in achieving the desired tone?

OG: Traditional animation. And traditional animators like "pretty" drawings. It took them a while to realize the poetry hidden behind the seemingly rough style of the art director.

ZF: Scenes of sex, violence, or foul language in animation are usually treated differently than in live-action. How did you find the balance between shock and humor?

OG: By the good work of our screenwriter. Carla's pioneering work in screenwriting was a television series for Rede Globo (Brazilian broadcast television). So, she already had experience in finding digestible solutions for a broad audience.

ZF: Does the film criticize specific behaviors (sexism, corruption, hypocrisy, prejudice) or is it a more existential satire about the difficulty of being decent in an indecent world?

OG: The film is a mirror of reality. In real life, nobody is just good or just bad. We are ambiguous, complex, and multifaceted beings. I believe the film handles several heavy subjects well and treats them in a non-judgmental way. Despite being a "hero's journey," Ismael is far from being a hero.

ZF: What do you expect the viewer to think when they leave the theater? That they'll have a relieved laugh, feel provoked, or want to "curse" you?

OG: Well, anyone with feelings should identify with the story in some way. I think it's less likely to hear curses (he laughs).