‘The Secret Agent’: Wagner Moura Shines In An Incredibly Long But Enthralling Tale

Stories of survival, perseverance, and tragedy in the face of oppressive dictatorships have taken many forms across the history of cinema. Many would remember that, as recent as 2024, Walter Salles’ critically acclaimed and Oscar-nominated I’m Still Here depicted a family struggling with the disappearance of their father and the continuous oppression of the military dictatorship in Brazil. It’s hard not to compare that film with the subject of this review. Both take place in Brazil during the military dictatorship. Both are rife with political tension, with the characters seemingly at constant threat of kidnapping or assassination. Where The Secret Agent differs is that it places greater focus on that underlying tension, depicting the story of one man as he navigates such an unpredictable environment.

The Secret Agent is a Brazilian historical, political thriller released on Wednesday, November 26, 2025. It was written and directed by Kleber Mendonça Filho. The story is set in 1977, during the political turmoil of the Brazilian military dictatorship. The film follows the journey of Armando Solimões, played by Wagner Moura, a former researcher who is fleeing persecution. He finds himself joining a refuge run by former anarcho-communist Dona Sebastiana, played by Tânia Maria. Armando is given a new identity, takes a new job, and must contend with the corrupt authority in the area. But he is unknowingly being hunted by two hitmen.

The most daunting thing about The Secret Agent is certainly its runtime, which sits at 161 minutes, but this is definitely a case where the story and characters keep the viewer’s interest throughout that lengthy span of time. The film begins with a slow, careful pace. There is heavy attention on minuscule details and portraying events as accurately as possible. The opening scene sees a policeman thoroughly interview (or interrogate) the protagonist, asking him questions, asking to see what’s in his car, and asking for a donation, which is clearly just an attempt at robbing Armando of money. It is a lengthy sequence, but it does showcase why the film is so careful with its pacing: the tension. This scene exemplifies the underlying threat of the corrupt authorities, who, while seemingly mild and friendly in their demeanor, are nonetheless threatening due to their ability to use violence and rob an individual of everything. This careful build-up extends to the refuge which Armando finds himself in. Time is taken to develop the characters both here and at Armando’s new job. The film does a wonderful job of building the importance of community in the face of oppression. Individuals struggle to survive, but as a group, one can persevere against the impossible might of corruption.

That being said, this slow pacing can drag at times. There are extended periods where not a lot happens aside from dialogue and fruitless endeavors. The main standout here is Armando’s quest to learn more about his mother. This plotline does not seem to amount to much besides putting Armando in a situation where he is identified by the antagonists of the film. Furthermore, the pace can be disrupted at certain points. While it is slow, the film does keep a strong forward momentum that keeps the plot moving, but there is a particular scene in the middle of the film that heavily focuses on Armando’s past. The scene itself is excellent, but the flashbacks and overall moment do grind the story to a screeching halt. Tighter editing could certainly have alleviated this problem, but thankfully, it does not ruin the whole picture. In fact, the slow pace does enhance the underlying tension that runs throughout the film.

Despite the pacing, the actual cinematography itself is excellent. Brazil of 1977 feels incredibly vibrant and alive despite the dictatorship. There is a clear attention to detail, and nothing feels anachronistic in the depiction of the period. The use of color and lighting makes this film incredibly pleasing to the eye. There is a strong contrast at play, where the government buildings feel stifling and restrictive, whilst the streets and areas of community feel full of life. The film is far from bleak and strikes a good balance of tension and levity. There is always a constant threat to Armando’s life, especially in such close proximity to corrupt authorities, but it never overpowers the viewer. Given the runtime, it would likely have made the film a chore to sit through had Filho chosen to maintain this bleakness and tension throughout. There is even an absurd moment depicting an amputated leg going on a rampage, an insane scenario, but one that is being told to us by the community surrounding Armando. It excellently serves two purposes, giving the audience a humorous moment to break the tension whilst also highlighting how the government distracts from and downplays the violence that has been committed during the carnival.

Of course, the star of the whole show is Wagner Moura, who proves why he is one of the best actors working today. He carries the film from beginning to end, depicting a man who is certainly no spy, as the film’s title might suggest, but neither is he an idiot. There is a weary compassion in Moura’s performance that often comes out. He wants to help the people around him and hates how the police treat people, but he is also under threat. His finest moment is the aforementioned scene that halts the film’s momentum. Armando is interviewed by Elza, played by Maria Fernanda Cândido, the leader of a political resistance movement. In this scene, Armando recounts the events in his past that brought him to this present. Moura’s performance isn’t loud or incredibly dramatic, but subtle, nuanced, and captivating. There are hints of regret and moments of anger, but never do they rise to the surface. This is then masterfully contrasted by the flashbacks that intercut the scene. The audience sees the difference between the younger Armando and the present Armando. Moura plays both versions of the character to perfection. The final scene of the film has him play a completely different character, and Moura effortlessly pulls it off. If there is any reason to see this film, it is this performance.

The rest of the cast also pulls their weight, too. The other standout is Tânia Maria as Dona Sebastiana, the head of the refuge. She is such a fun character, full of wit, charm, and compassion. Dona provides a good deal of levity and is central to the film’s depiction of community. The second standout, who is a depiction of the opposite, is Robério Diógenes as Euclides, a corrupt Civil Police chief. He is everything one would expect of a corrupt authority figure, condescending, racist, and sleazy, but is nonetheless effective. Euclides is easily hateable and thus the audience relates to Armando’s hatred of him. This then comes around tragically as there is little Armando can do to undermine Euclides, otherwise he risks blowing his cover. It is a bitter pill to swallow.

Overall, The Secret Agent is worth a watch if just for Wagner Moura’s performance. The cinematography and vibrancy make the film aesthetically pleasing, and those looking for a slow-burn political thriller will certainly get all that they want and more with this. Those looking for a tight, engaging political thriller might be put off by the slow pacing, but should still find a lot to enjoy in the performances and the filmmaking on display.