Transamazonia begins with an impressive scene where ants swarm around a child's hand. It is the hand of little Rebecca, the only one to survive a plane crash in the Amazon. Nine years later, Rebecca is known to the indigenous people as “Miss Aspirin”, a healer who sees herself as an instrument of Jesus Christ and is supported by her missionary father. Together they hold ecstatic masses in the Brazilian jungle. Their goal is to live in harmony with the indigenous people, but when two brothers threaten the indigenous people's habitat through illegal deforestation, a dangerous conflict ensues. Pia Marais’ screenplay delves into the intricate relationships and moral quandaries faced by the protagonists. What begins as an intimate exploration of the father-daughter bond gradually expands into a broader examination of the political dynamics between indigenous communities and white missionaries. Transamazonia challenges the limits of the so-called “white savior” complex, revealing that as Rebecca and her father become more entangled in the conflict, their actions betray underlying colonial ambitions. Beyond these ambitious themes, the film boasts an outstanding cast, with the charismatic Helena Zengel delivering a powerful lead performance. Much like Werner Herzog in Fitzcarraldo, Pia Marais masterfully captures the haunting beauty and darkness of the South American jungle through breathtaking cinematography. Transamazonia premiered in competition at the Locarno Film Festival.