Nise The Heart of Madness

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NISE: THE HEART OF MADNESS Friday, November 3, 2017 7:30 P.M. Admission: $10

Directed by Roberto Berliner, this beautiful movie explores the power of human connection,
art and the ideals at the heart of psychoanalysis. Set in 1940s Brazil, the movie tells the true
story of Dr. Nise da Silviera (played by award-winning actress Gloria Pires). The only female
psychiatrist in a psychiatric hospital on the outskirts of Rio de Janeiro, Dr. da Silviera refuses
to employ the new and violent electroshock therapy in her treatment of schizophrenics.
After challenging her colleagues she is ridiculed and left to run the long-defunct occupational
therapy program. As she seeks to find alternative ways to care for her patients who have
long been mistreated, isolated and abandoned to institutional care, Nise first creates a space
of safety and connection. She then begins to understand the meaning of her patients
behaviors and actions. Sustained by her deep belief in the human capacity for
communication, the potential for healing through the symbolic expression of inner
experience and its recognition by others, and inspired by the work of Carl Jung, Nise helps
transform the lives and experiences of the patients in her care.

A discussion following the screening will be facilitated by Connie M. de Pinho, Ph.D.

In the 1940s, the Doctor Nise da Silveira leads a revolution in psychiatric care in Brazil. Her
weapons: canvases, paints and brushes. Among her faithful allies; cats and dogs.
Dr. Nise da Silveira is back at work in a psychiatric hospital on the outskirts of Rio de Janeiro
and refuses to employ the new and violent electroshock for the treatment of schizophrenics.
Ridiculed by doctors, she is forced to take the abandoned Sector for Occupational Therapy,
where she starts a revolution through paints, dogs and love.

Julio Adrio ... Carlos Pertius

Flavio Bauraqui ... Otvio Ignacio
Fabrcio Boliveira ... Fernando Diniz
Fernando Eiras ... Mrio Magalhes
Luciana Fregolente ... Eugnia
Charles Fricks ... Mrio Pedrosa
Georgiana Ges ... Marta
Claudio Jaborandy ... Emygdio de Barros
Zcarlos Machado ... Dr. Nelson (as Jos Carlos Machado)
Augusto Madeira ... Lima
Bernardo Marinho ... Raphael
Simone Mazzer ... Adelina Gomes
Glria Pires ... Nise da Silveira
Felipe Rocha ... Almir
Roberta Rodrigues ... Ivone

A miracle happened in Brazil on the 1950's. Renowned modern art museums opened their
doors to artists nobody ever heard of. Many critics pointed out that theses exhibitions
revealed painters that should be ranked amongst the best brazillian artists of the century. It

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was written that this explosion of art and beauty was a sign that something comparable to
the renaissance was happening in Riio de Janeiro. Behind this miracle there was no art
academy, patron or dealer, only a psychiatrist, ridiculed by her colleagues, and a painting
studio at a mental hospital, in the outskirts of town. The artists were schizophrenic, poor,
hospitalized for several decades, abandoned by their families and hopeless according to
their doctors. This film tells the story of this "Miracle" and the life of this rebellious, frail and
engaging psychiatrist: Dra. Nise da Silveira.

eyeforfilm.co.uk
Nise The Heart Of Madness (2015) Movie Review from Eye for Film
5-6 minutes
Nise The Heart Of Madness
"Nise - The Heart Of Madness is a brilliantly rendered slice of history which touches on
numerous subjects and really does justice to the people it portrays."

Famous for her political passion and iconoclastic approach to psychiatry, Nise da Silveira is a
figure with whom most Brazilians are familiar; for many viewers of this film, however, she
will be an unknown quantity. It focuses on just one chapter of her life and there's not much
need to know the rest, but the effect is that Brazilian and foreign audiences will go into it
with very different expectations. It speaks well of Roberto Berliner that he has managed to
create a film that works for both.

The film opens with Nise (Glria Pires) hammering on a door. Brazilian audiences will know
that she's just been released from prison (where she was held because of her refusal to
renounce Marxism); now she's anxious to get inside somewhere similar. This is a psychiatric
hospital in Rio de Janeiro, a place where she will continually have to assert herself like that
to get attention. It's also an early example of the framing technique Berliner will use
sporadically throughout the film to evoke its secondary theme, the production and socio-
political positioning of art.

At the time of Nise's arrival, the institute is a brutal place. This is, in part, because it's quite
advanced - techniques like electroshock therapy and the ice pick lobotomy were, at the
time, only slowly coming into use around the world. Most patients - or clients, as Nise
prefers to call them - were simply kept locked up and drugged into submission. Wisely,
Berliner steers away from the torture porn aspects of the system which many other
directors can't resist lingering on. We get a short, sharp shock at the start, and it's quite
enough for Nise, who determines that the only way she can stay on there is by moving into
the occupational therapy department. This is an area where progress has been slow. Clients
are given mundane work to do. Nise wants to introduce them to something genuinely
stimulating.

Though she drew on ideas developed by Jung, Nise was a pioneer in giving mentally ill
people access to self-directed creative opportunities, and this is the film's main focus. There
are a host of superb performances from the actors playing her clients, all of whom have
understood that they are playing people - mostly real individuals - rather than just imitating
the symptoms of diseases a is often the case in films about asylums. What's also understood
is that mental illness rarely makes people aggressive - rather aggressiveness tends to
emerge, if it does at all, as a response to ill-treatment or the frustration of being unable to
communicate. This film never patronises its subjects and never lets us forget their potential
for violence - there's a powerful underlying tension in many scenes, especially where groups

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are getting excitable or staff members are alone with clients who have a history of violence -
but there is no gratuitous exploitation of aggressive acts. As a parallel to the change that
take place in these people as they are introduced to art, we see brutal orderly Lima (Augusto
Madeira) change and develop in a similar way, to the point where he begins to develop
friendships with his clients. Nise is clear, however, about the responsibility of staff to
maintain some emotional distance, and she's clear that a client being able to hold a
conversation or produce a work of art is not necessarily cured.

Perhaps the most striking thing about the real Nise's work was the quality of the art that
came out of it, championed by art critic Mrio Pedrosa (Charles Fricks), and it's beautifully
reproduced here, with an eye for technique and some superb physical acting. Berliner is
careful to let the art lead as it did in reality, so that it's initially through the paintings and
sculptures that we get to know the inmates as human beings. Don't leave when the credits
start to roll - that's when we get the chance to see some of the real human beings whose
stories are told here, several of whom made careers out of their work. The real Nise (who
died in 1999) gets to speak too, and flash the famous smile which we rarely see from Pires is
this recollection of more difficult times.

Nise - The Heart Of Madness is a brilliantly rendered slice of history which touches on
numerous subjects and really does justice to the people it portrays. It would stand well
enough if it were fictional, but as a record of work which continues to improve lives today,
it's really worth celebrating.
Reviewed on: 03 Feb 2016
Nise The Heart of Madness (Nise O Coracao da Loucura): Rio de Janeiro Review
Jonathan Holland
6-7 minutes

2:53 PM PDT 10/19/2015 by

This fact-based period drama about a system-fighting Brazilian psychiatrist won the
Audience award for best fiction feature at the recent Rio festival.
Imagine the polar opposite of Nurse Ratched in One Flew Over the Cuckoos Nest, and you
have something like the the brilliant, kindly heroine of Nise The Heart of Madness. A
pioneering figure well-known in Brazil, Nise da Silveira led a rebellious but full life and the
film focuses on a short but definitive part of it her stay in a Rio de Janeiro psychiatric
hospital, where she fought and won a battle against the prejudices of men and of science by
daringly treating her patients as human beings.
Elegantly combining a triumph-over-adversity yarn with a sensitive exploration of the
redemptive power of artistic creation, the films nicely understated humanity - combined
with a healthy dose of the feel-good factor - meant that Rio audiences voted Nise their
favorite film this year. Further festival appearances should come off the back of that for a
film whose appeal extends beyond its country of origin. (But, for non-Brazilian audiences,
that title definitely needs a rethink.)
Wisely, director Roberto Berliner focuses on a short period of da Silveiras life, the time in
the early '40s when, fresh out of prison for her Marxist beliefs, she spent time in a Rio
psychiatric institution revealing that for her patients, artistic creation could be therapy as
well as producing some damn fine art. The opening scene has Nise (the high-profile Brazilian
actress Gloria Pires) bang repeatedly onto a loud metal door in order to gain entrance to the
hospital where she has come to work, the scene clearly if clumsily prefiguring the struggles
to come in a world like most worlds at the dominated by male prejudice.
Once inside, Nise is appalled to attend a conference in which her male colleagues are
extolling the virtues of electrotherapy and ice-pick lobotomies. Refusing to participate in

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such barbarism (not uncommon in the United States, too, in the 1940s and '50s), Nise is
downgraded to the occupational therapy section. (As shes also a Marxist, the move is
doubly convenient for the establishment.)
Like a Florence Nightingale of the mind, Nise sets about cleaning up first the premises, then
the language of the nurses forbidding the use of terms like "nutcase"and "animal" and
replacing them somewhat disingenuously with "client." Then, using a stocking and a rag, in
one effective scene she sets her patients to play and, encouraged by her colleague Almir
(Felipe Rocha), to paint and so bring their unconscious minds into the open.
Sensibly, the script focuses not so much on da Silveira as on the results of her efforts in
other words on the clients, psychotics all, including Emygdio (Claudio Jaborandy), the mighty
Adelina (Simone Mazzer) and the particularly threatening Lucio (Roney Villela). All
performances are plausible and affecting. Berliner shares out the compassion and is careful
to give each character a story and an artistic style: just as da Silveira herself would, he puts
these people at the forefront of her story. He often does so with a real grace and sensitivity,
as, for example, in a scene where one patient, childlike, learns what a paintbrush is for, or in
another, on a day trip where the patients all dress up and the sunlight coming through the
trees plays on their uplifted features in a moving index of psychological release.
Buoyed by Andre Hortas often documentary-style camerawork, the script is respectful of
the truth, refusing to exaggerate for the sake of the drama even when there are multiple
opportunities to do so. Nise is perhaps a little too saintlike in her unruffled dignity as she
deals with the provocations of her male adversary, Dr Cesar (Michel Bercovitch): "My
instrument is a brush, not an ice pick," she sternly reminds him in one of the stagier
moments. But she is never superhumanly so, in a controlled and austere performance by
Pires which seems designed to allow those surrounding her to flourish: Her frustrations are
quietly dealt with in aside scenes with her husband. Some scenes pulsate with real risk, as
time and again Nise puts her theories to the test without knowing how her schizophrenic
clients will react.
One of her patients, Fernando Diniz (Fabrcio Boliveira), went on to become a well-known
painter: His image and those of her other patients touchingly open the end credits, following
an extract from an interview with the real Nise, now elderly, playfully calling the cameraman
a nutcase.
The final scene is effectively a seal of approval for Nises work from the art establishment, in
the figure of Pedrosa (Charles Fricks). Its recognition, which the character doesnt need
shes already earned it through the movie and the closing, triumphal scenes featuring the
Brazilian art world applauding Nise feel like a cheap and false coda, given the richness of
what has come before. "This is not just medical, its artistic and political too," Pedrosa
reminds us, but anyone who has just watched this potent but delicate film will hardly need
reminding.

screendaily.com
'Nise - The Heart of Madness': Review | Reviews
Reviews 'Nise - The Heart of Madness': Review By Lee Marshall27 October 2015
4-5 minutes

Dir Roberto Berliner. Brazil. 2015. 109 mins.

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A feisty, stubborn female doctor assigned to a Rio de Janeiro mental hospital in the 1940s
proves that listening is better than lobotomy in Roberto Berliners conventional but well-
crafted take on the true story of campaigning Brazilian psychiatrist Nise da Silveira.
This is a classic against-all-odds emotional journey - though that scriptwriting clich is
sometimes pushed to an excess.
Carried by a script that sheds all excess biographical baggage to focus on Nises occupational
therapy work at the Engenho de Dentro institution, and anchored by local telenovelas star
Gloria Pires solid, unshowy performance in the title role, this is a classic against-all-odds
emotional journey - though that scriptwriting clich is sometimes pushed to an excess of
light and shade in the films depiction of the good Jungian female doctor versus the bad,
chauvinist male psychiatrists with their sadistic surgical methods.
Playing in competition at the Tokyo International Film Festival after winning the audience
prize following its Rio festival debut, Nises story is a little too local-interest to attract much
attention outside of Brazil, though its best feature - a sensitive, unexploitative depiction of
Nises damaged patients - could win it a sympathy ticket to other festivals.
The opening medium long shot speaks reams about Nise da Silveira (Pires) before weve
even met her: seen from behind, dressed in a businesslike suit, she stands outside the
forbidding metal gate of the Engenho de Dentro state asylum, knocking first quietly, then a
little louder; its not until shes hammering on the door with a closed fist that a lazy guard
comes to open. Its a neat metaphor for what will follow, as Nise is a woman seeking entry to
a closed male world, one nailed by another no-frills preparatory scene in which her
colleagues in the institution illustrate the virtues of electro-shock therapy through a live trial
on a kicking and screaming patient, and praise the transformative powers of lobotomy -
which at that time was carried out via the icepick procedure pioneered by US doctor Walter
Freeman.
Disgusted by this violence, Nise opts to be assigned to the occupational therapy unit - a
chronically underfunded part of the hospital. With the help of docile female nurse Ivone, and
much to the disgust of male orderly Lima (Madeira), she begins to clean the place up, and
accepts the offer of artistically inclined male nurse Almir (Rocha) to set up an art studio in
the unit, allowing patients - who Nise insists on referring to as clients - to work through
their traumas using paint and clay.
In this environment, free from the coercion and neglect that reigns in the rest of the
institution, inmates like Lucio (Villela), who is considered a dangerously violent case, doll-

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hugging Adelina (Mazzer) and fussy schizophrenic Carlos (Adriao) blossom and begin to
produce work that Jungian therapist Nise - with the support of a leading Brazilian art critic -
sees as the direct outpourings of the unconscious mind, unmediated by art-school
sophistication.
Thankfully, the whackier end of Jungs philosophy is kept at bay, and Nise da Silveiras
lifelong communism is only touched on lightly in one of the films regulation stand-offs with
her male colleagues - the idea presumably being that too much ideology would impact on
the heroines sympathy ratings. Crisply shot in a way that brings out the contrast between
the faded, down-at-heel hospital setting and the vividness of the inmates creative
outpourings, this is a neat package sealed, at the end, by some delightful interview footage
of the real Nise da Silveira, shot a few years before her death in 1999, at the age of 94.
Production companies: TvZero
International sales: contact TvZero, rodrigo.letier@tvzero.com
Producer: Rodrigo Letier
Executive producer: Lorena Bondarovsky
Screenplay: Patricia Andrade, Leonardo Rocha, Roberto Berliner
Cinematography: Andre Horta
Editor: Pedro Bronz, Leonardo Domingues
Production designer: Daniel Flaksman
Music: Jaques Morlenbaum
Main cast: Gloria Pires, Fabricio Boliveira, Augusto Madeira, Felipe Rocha, Simone Mazzer,
Julio Adriao, Roney Villela, Claudio Jaborandy, Roberta Rodrigues

Presentation Abstract
In 1995 the Brazilian psychiatrist Nise da Silveira wrote seven letters to the 17th Century
Dutch philosopher Baruch Spinoza. The heroine of Brazils anti-asylum movement and
former colleague of Carl Jung used her correspondence with Spinoza to reflect on the
interconnections between science, art and ethics. Professor Paul Heritage and Dr Silvia
Ramos have written three letters to Nise da Silveira, contemplating the questions raised by
her life and work in relation to experiments in applied performance taking place in the
hospital in Rio de Janeiro which now bears her name and where she established the
Museum of Images of the Unconscious. These letters share with Nisa da Silveira news about
the Brazilian immunologist, cultural psychiatrist, medical doctor and theatre-maker Vitor
Pordeus who has created the Hotel and Spa of Madness alongside hospital wards that still
house patients with chronic psychosis. Described by Dr Pordeus as a centre for culture,
health and transcultural , the Hotel hosts a wide range of artistic and cultural activities with
the direct participation of acute psychiatric patients, as well as professional actors, painters,
dancers, directors, poets, educators and graffiti artists. Heritage will also discuss a fourth
letter written to Nise da Silveira by Hamlet, Prince of Denmark (aka Dr Pordeus) which insists
there is indeed a method in madness.
Reading and supplementary material:
There are are various videos of the Hotel and Spa of Madness on the internet if students
want to look at images in advance. Just type Hotel e Spa da Loucura into Youtube.
There are also a number of lectures in English by Dr Pordeus available on the internet,
including a recent one he gave at McGill University:
https://www.pinterest.com/pordeus/madness-theatre-and-method-london-and-malta-
2014/
There is an article about the Hotel and Spa of Madness on the BBC site:
http://www.bbc.com/news/health-32254691
There is an article on cultural psychiatry by Dr Pordeus which can be downloaded at
https://archive.org/details/PordeusArtofHealing

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And finally, students can look at the range of Dr Pordeus research publications on
http://www.researchgate.net/profile/Vitor_Pordeus/publications
This talk, part of the King's Brazil Institute Research Seminar Series, will be followed by a
Q&A and wine.

A look into the life of a famed Brazilian psychiatrist

7-9 minutes

Brazilian director Roberto Berliner attended a screening and discussion of his most recent
film, "Nise: O Corao de Loucura," which tells the story of the revolutionary female
psychiatrist Nise da Silveira.
Brazilian director Roberto Berliner. (Photo: Alison Claire Brailey/ UCLA.)
"She did so many important things in Brazil that I wanted to tell everything, but making a
feature film I just didn't have time, so the first few scripts did not work."
by Alison Claire Brailey (UCLA 2017)
UCLA International Institute, February 22, 2017 As part of an ongoing film series organized
by the Center for Brazilian Studies, director Roberto Berliners new feature film, Nise: O
Corao de Loucura (Nise: The Heart of Madness), was shown at the UCLA James Bridges
Theater on February 1. The film series, currently in its 10th year, is cosponsored by the
Brazilian Ministry of Foreign Affairs through the Consulate General of Brazil-Los Angeles, and
the UCLA Department of Spanish and Portuguese.
The biographical drama tells the story of Nise da Silveira, a Brazilian woman who
revolutionized the practice of psychiatry in the country during the 1950s. The film was
followed by a brief discussion period with Berliner.
Nise presents snapshots of the period in Nise da Silveiras life in which she began working at
an infamous psychiatric institution in Rio de Janeiro. Upon her arrival there, Nise is shocked
by the conditions that the psychiatric patients are forced to live in. She is also horrified by
the practices that her male colleagues use to treat patients with schizophrenia.
Guided by her rebellious spirit, da Silveira refuses to practice electroshock therapy or to
perform lobotomies on her patients. Instead, she develops a unit for occupational therapy in
the hospital. Despite multiple setbacks and a detrimental lack of support from her
colleagues, she is able to help her patients create beautiful meaningful works of art. This art
becomes not only an extremely successful therapeutic practice for schizophrenic patients,
but also becomes recognized and celebrated for its value by the art community.

Randal Johnson (left), distinguished professor of Brazilian cinema and literature at UCLA,
leads a discussion with filmmaker Roberto Berliner. (Photo: Alison Claire Brailey/ UCLA.)

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Inspiration and challenges
As a Brazilian artist who was familiar with the impact da Silveira had on the art world,
filmmaker Berliner said he already had an interest in her work and her life before he made
the film. It was only after he visited the real Casa das Palmeiras (Palms House), the unit
where psychiatric patients created art, however, that he began to consider her story as a
serious project.
The entire process, said the director, took an extremely long time about 13 years by the
directors estimate. Nise is very respected in Brazil, but not very well known, he said. For
that reason, he had to spend years conducting extensive research before even attempting to
write a script. As he recounted, Berliner went through hundreds of old documents, read her
books and essays and watched many documentaries made about da Silveira before
beginning the film because, he said, I really wanted to get it right.
Berliner tried to involve as many people as possible in the project who could help him better
represent da Silveiras story. People who had worked with her collaborated with him and
became deeply involved in the project. Together, they studied over 350,000 pieces of art
that are still in the hospital museum today, as well as her old hospital documents and
patient records, to make sure that her story was told properly. According to the director,
many people very close to the Brazilian psychiatrist gave input on the script and provided
important details that brought her to life on the big screen.
Trying to paint an accurate and meaningful picture of da Silveira was no easy task. She did
so many important things in Brazil that I wanted to tell everything, explained Berliner, but
making a feature film I just didn't have time, so the first few scripts did not work. This
experience explains why seven different writers are credited on the final film. Although the
project took years to make and required the collaboration of dozens of people, it was
completed nonetheless, and has been racking up both Brazilian and international awards
since its release.

The filmmaking process

Berliner noted that casting was one of the most important decisions behind the films
success. Because he has mainly made his name as a director of documentaries, and because
Nise: O Corao de Loucura was only Berliners second feature film, he said that it was
essential to choose great actors.
Gloria Pires was actually Berliners second choice for the lead, even though her performance
turned out to be exactly what he wanted. Pires is one of the most famous actresses in Brazil
and is the only big name in the film, because, said Berliner, the filmmaking team went to
great lengths to cast actors who were mostly unknown.
Shooting the film was an arduous process, but a positive experience in the end, remarked
the director. They shot for 12 hours each day, 6 days a week, for a total of 7 weeks. The
entire movie was filmed in the actual hospital in which Nise worked and Berliner stressed
that the hospital continues to run today in the poor conditions shown in the film.
During filming, the hospital also continued to house psychiatric patients. Berliner asserted
that this was integral to the filming process because the patients became incorporated into
the crew. The director recounted the experience of one of the most aggressive patients in
the hospital. While Berliner and his crew were filming, they decided to give him a radio. It
really helped him to be involved, but he also really helped [the crew], he said.
In the end, the experience of filming in the hospital created an incredible sense of
togetherness among cast and crew, making them extremely close. Its something that I
think is forever, said Berliner of the camaraderie.
Nises legacy
After the movie was completed, one of the first screenings took place in the courtyard of the
hospital. The courtyard was featured in one of the most touching scenes in the film, in which

8
Nise discharges one of her patients for the first time and the entire unit holds a farewell
party for him.
In parallel, the current patients were all invited to the screening and watched alongside the
cast and crew. This moment was particularly meaningful for Berliner. They made dialogues
with the film. They spoke and talked to the film [as it was screening]. It was something really
special, he recounted.
Along with the hospital, the museum that houses all of the patients art still exists in Brazil.
In fact, all of the finished paintings exhibited in the movie are originals made by Nises real-
life patients. They eventually became very important artists in Brazil and their art gained
critical acclaim from artists all over the world.
Berliner asserted that in addition to revolutionizing the practice of psychiatry, Nises work
changed the way both art and artists are seen in Brazil. Lots of artists went to the
occupational therapy unit to study the art there. The profits made by the museum were then
redistributed into the programs budget to keep the occupational therapy unit open in
subsequent years. Now, Berliner hopes the film will help keep the museum alive for even
more years to come.

kalopsia.me
Dr. Nise da Silveira The Most Underrated Woman in The History of Humankind !
KALOPSIA
7-8 minutes

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Nise da Silveira was born in Macei, in the northeastern state of Alagoas, Brazil, in 1905.
After graduating from the Medical School of Bahia in 1926 (the only woman among 157
men), she devoted her life to psychiatry and never was in agreement with the aggressive
forms of treatment of her time such as commitment to psychiatric hospitals, electroshock,
insulin therapy and lobotomy. Her method was basically to treat patient which she refused
to call them patients instead she called them Clients and called the doctor and nursing
staff. The hospital ward where she was supposed to work at was dirty and in absolute mess
which she arrived, she and one nurse took by their own the job of cleaning the ward to make
it appropriate place to live for the clients AKA patients. It is worth mentioning that the male
nurse (nurse) hired to work with her was aggressive to patients and used to abuse them and
beat them not only that he refused to clean up the ward with the doctor claiming that its not
his job. She managed after a while to transform this person into very kind human that treat
patients with love and compassion.

After that a male nurse (Murse) who was interested in painting suggested to Dr. Nise to start
bringing basic drawing instruments and let the patients draw. They first refused and acted
aggressively towar this concept, she actually fought other nurses not gave patients medicine
to calm them down and asked them to leave the patients be them selves only few of them
refused to participate in drawings and art work, by time they all got very interested and
started drawing whats in their subconscious and one single man chose to sculpt using clay
(none of the patients had art back ground) After that Dr Nise with her nursing staff started
getting stray dogs for each patients, of course male doctors along with the head of the
hospital refused. They claimed that dogs will bring dirt and infections to the patients
although they helped patients to get better massively starting to regain their feelings of love
and be loved and the dogs were kept in the outer yard/garden and was taken to vets from
time to time. Eventually evil men doctors killed the dogs which devastated and
traumatized the poor patients who were already half way cured or at least act normally (not
aggressive anymore even the most dangerous one who was actually captured in isolated cell
and tortured) killing the dogs made the patients conditions worse Dr Nise with her staff had
to start from point zero.
Even for normal people dogs give unconditional love and compassion.

10
The pictures above shows the brutual ways used to treat patients back then and they are still
in use for some patients.
Doctor Nise Refused to participate in aggressiveness and brutal method which never
improved patients conditions actually it killed their emotions and senses. She fought 157
male doctors to stop this bullshit of treatments, and tried to convince them that her

11
methods actually work and never gave up her dream to stop brutality treatments to stop the
hospital dominated by men doctors using aggressive methods that are unproven, she even
risked being fired. At the very bottom of this page I will list the reasons why did male doctors
refused and fought back to show that her methods arent scientifically proven.

She then came to a genius idea to arrange a gallery in Rio de Janeiro which also serves as a
study and research center that collected the works produced in painting and modeling
studio. Through her work, Nise da Silveira introduced the only art gallery of psychology ill
people in Brazil that includes patients art works and invited one of the most respected artists
and critiques, he was stunned and helped her arrange fund for the Museum of Images and
art work of the Unconscious and he invited the elite people, psychiatrists and family
that have patients thrown and prisoned in the wrong clinics those who suffer from cases
related to unconscious and described that these art works created by the patients matches
or even exceed the best artists in South America or maybe the world.

12
A few years later, in 1956, Nise da Silveira developed another revolutionary project for her
time from the funds generated from the previous gallery, she created the Casa das
Palmeiras (Palms House), a clinic for former patients of psychiatric institutions, where they
could freely express their art and be treated as outpatients on a daily basis. She also formed
the C.G. Jung Study Group, which she chaired until 1968.

13
Her research on occupational therapy and the understanding of the psychotic process
through images of the unconscious gave origin, along the years, to exhibitions, films,
documentaries, audiovisuals, courses, symposiums, publications and conferences. She was
also a pioneer in researching emotional relations between patients and animals, whom she
used to call co-therapists.
In recognition of her work, Nise da Silveira was awarded decorations, titles and prizes in
different areas of knowledge. She was a founding member of the International Society for
Psychopathological Expression headquartered in Paris, France. Her work and ideas inspired
the creation of Museums, Cultural Centers and Therapeutic Institutions in Brazil and
overseas. The Casa das Palmeiras Is still open to visitors in Rio as a museum.
Reasons why she was never awarded the Noble Prize or her story been recognized all over
the world as she absolutely deserves it in my OPINION:
1. She is a woman and sexism is still practiced in every single in the world.
2. Psychiatrist Medicine industry will go bankrupt if these free drug medications was applied.
3. The so claimed psychiatrics AKA drug dealers at least some of them who have gigantic
contacts with medicine manufacturers will also go vanished. Also the want people to get
hooked and addicted to their medicines for ever to make these drug dealers and
manufacturers make more and more money convince people believe that they are actually
sick or even crazy.
4. Most of the patients cases suffered from lack of love or separation from their loved ones
and these two factors (majorly) causes trauma which can heal by time or push the patients
to make them self busy through various activities like art in general or working out, taking
care of a pet (specially dogs).
I am very sad for her not to receive the recognition she deserved.
DR. Nise died on October 30, 1999, in the city of Rio de Janeiro.

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There is a real story movie documenting her live (never edited) every thing in the movie was
true. It is available on Netflix called (Nise the heart of madness) its in Portuguese you can use
subtitles though. BELIEVE ME IT WORTHS EVERY SECOND.
The movie poster & trailer are below then below the a slideshow its a mix of real
events/pictures and from the movie.

Nise da Silveira - Gatos, a emocao de lidar, Lo Christiano Editorial (2016)

(vide), 1998
Nise da Silveira ,
,
. ',
. Nise,
,

. ,
.
,
Sebastio Barbosa, ,
Carlinhos, Carl Jung, Nise
.

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