The Retomada pushing re-reading of the Cinema Novo

There is a lot of criticism on the key changes from the Cinema Novo to the Retomada, focusing on the change of style, as opposed to what might remain the same.  I am amazed, for example, at how (historically) later rereading alters our understanding of the original text (there is amazing work on the various centuries of reading Cervantes, for example).  This is not to say it is changed or re-written (contra Borges, et al.), but rather becomes altered through new contact(s).  These new contacts should not only be used to point out naive affirmations and compositions by embittered critics, but also bring back to life a series of sparks now laying dormant, away from our dismissive gazes. 

This footnote from my paper on landscape in the Cinema Novo and Retomada ignited the post:

While it is impossible to give defining statements of the Retomada, many films take up tropes from the Cinema Novo and change up the style or tone.  As we shall see in this paper, the sertão ceases to be a utopia (as in no-place, sin topos) and becomes regional, global and eventually nonlocal.