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The Outsiders
Movie

The Outsiders

1968 • Unknown

Woke Score
2
out of 10

Plot

Guilherme, who has the police on his trail for having been involved with a niece of the mayor of his city, runs away with the girl after receiving threats. On the other side is "Papo Amarelo": a bandit from Rio de Janeiro who spends the rest of his problematic life acting in robberies.

Overall Series Review

The film, *Os Marginais* (1968), is a Brazilian anthology movie (also known as *The Outsiders* or *The Marginalized*) that explores the lives of characters existing outside of established society, a key feature of the "Cinema Marginal" movement. The story is presented in two main episodes. The first follows Guilherme, an intellectual who has been tortured in the wake of the 1964 coup. He seeks revenge and infiltrates a corrupt city's establishment by posing as an entrepreneur, getting engaged to the mayor's daughter, and seizing control. His plans are disrupted by a passionate, anarchic love affair with his fiancée's cousin, leading to a new escape from the corrupt system. The second episode focuses on Papo Amarelo, a notorious Rio de Janeiro bandit whose life is a sensationalized cycle of crime, robbery, and hedonism, living entirely outside the law. The film's overall theme is the rejection of an oppressive, hypocritical, and corrupt social order (specifically the post-coup Brazilian establishment) in favor of a raw, amoral, and anarchic individual existence. The narrative does not lecture on contemporary identity politics but rather focuses on class struggle, political critique, and the visceral pursuit of passion and survival against a rigid, criminalized system. The marginal lifestyle is presented as a state of rebellion against the status quo.

Categorical Breakdown

Identity Politics1/10

The characters are defined by their social status as outcasts, criminals, or rebels against the political establishment, not by immutable characteristics. Conflict is based on class and corruption, not on racial hierarchy or an intersectional lens. Casting of actors, including prominent Black Brazilian performers, is consistent with a colorblind focus on class and individual merit within the criminal or political-rebel context.

Oikophobia3/10

The narrative is intensely critical of the corrupt local power structures, the police, and the political establishment in 1968 Brazil, a period marked by military rule. This is a radical critique of a country's unjust systems. The critique remains localized and does not extend into a general self-hatred of Western civilization or a spiritual glorification of external/alien cultures as superior to the West.

Feminism2/10

The main plot is driven by male anti-heroes. Female characters, such as the mayor's daughter and her cousin (the passionate lover), are central to the male protagonist's success or downfall. The women are not depicted as 'Girl Bosses' but are defined by their relationships and passion. The Papo Amarelo segment mentions 'bacanais,' suggesting a traditional portrayal of women as companions in a life of crime and hedonism. The focus is on a traditional masculine-protective-anarchic figure.

LGBTQ+1/10

The core relationships and conflicts are traditionally heterosexual, centered on passion, betrayal, and flight (Guilherme and the mayor's cousin). There is no centering of alternative sexualities, no deconstruction of the male-female pairing as normative, and no lecturing on gender ideology. The focus of 'marginality' is on crime, politics, and social class.

Anti-Theism4/10

The film operates in a completely secular and amoral world. The characters’ morality is entirely subjective, driven by survival, revenge, and passion, which aligns with the moral relativism found in the 10/10 definition. Traditional religion is not explicitly vilified or lectured against, but faith is not presented as a source of strength, nor is there an acknowledgment of objective, transcendent moral law. The spiritual vacuum is a result of the anarchic, materialistic focus on the immediate, marginal existence.