
Not Rated
At the Paulistano Club pool, Lygia tells Nilo that she liked the album "Lua Branca," recorded by the young man. He promises to visit her to perform the song in person. The visit marks the beginning of a romance between the two, which later becomes an engagement. However, Nilo is involved in the 1924 uprising in the barracks and, with the outbreak of the revolution, leaves for the front. The city of São Paulo shows the damage caused by the bombings. The rebels, wanting to avoid further sacrifices to the city, after days of fighting and victory, decide to abandon it.
At the Paulistano Club pool, Lygia tells Nilo that she liked the album "Lua Branca," recorded by the young man. He promises to visit her to perform the song in person. The visit marks the beginning of a romance between the two, which later becomes an engagement. However, Nilo is involved in the 1924 uprising in the barracks and, with the outbreak of the revolution, leaves for the front. The city of São Paulo shows the damage caused by the bombings. The rebels, wanting to avoid further sacrifices to the city, after days of fighting and victory, decide to abandon it.
The film's title, "Alvorada de Glória" (Dawn of Glory), strongly implies a narrative centered on national pride, historical celebration, and the affirmation of national identity, which aligns with conservative values of patriotism and tradition.
Based on the provided information, the movie does not offer explicit details regarding casting diversity or narrative framing that would suggest intentional DEI efforts. The assessment reflects a traditional approach to representation and narrative, indicating no explicit DEI elements.
Based on the provided information, there is no identifiable depiction of LGBTQ+ characters or themes in "Alvorada de Glória." Therefore, the film's net impact on LGBTQ+ portrayal is N/A.
The movie does not contain any action or adventure elements.
No source material or prior canon is provided for "Alvorada de Glória" (1931) to establish original character genders. Without a baseline for comparison, it is not possible to identify any instances of gender swaps according to the definition.
This 1931 film is not an adaptation of a widely known source material with established character races, nor does it depict historical figures whose race would be subject to a swap. Therefore, no race swaps are identified.