04 June 2018

Janie Geiser

Posted 04 de June de 2018 in conteúdo.

Janie Geiser

Familiar films

 Janie Geiser’s films are filled with invisible envelopes, secret stories, hidden meanings, and strong emotions. The experience of watching one – or better yet, a sequence of her films – can feel uniquely overpowering. This is all the more remarkable because nearly every film that the Los Angeles-based multidisciplinary artist has made runs fewer than 12 minutes in length. (The lone exception, Magnetic Sleep, is a serial work comprised of nine short parts.) They all play nimbly with familiar objects to impart sensations that are both cosmic and particular. A single flower, or a drawing of it, can represent the whole of Nature in her films; a single photograph, well-examined, can tell the story of a life.

Janie’s films tell individual stories of searches – of characters looking for other characters, of disoriented people in search of themselves, of the filmmaker as she gathers materials to reconstruct the past. Running throughout them are internal searches made by viewers in response to what they recognize. Olhar de Cinema proudly offers them a showcase within which to explore Janie’s work. The largest-ever retrospective of her films features 21 titles, almost all of which will receive their Brazilian premieres at Olhar. Janie’s latest film, Valeria Street, will have its world premiere.

The festival will be additionally blessed with the presence of Janie herself, who will appear with four programs of her films, plus stage an expansion of her film Arbor within a live event classed as an “Illustrated Talk”. She has further curated two programs featuring films by artists she admires – Edwin S. Porter’s keystone Dream of a Rarebit Fiend, plus notable contemporary works from 20 peers who were glad to take part.

While most of the filmmakers are based in the United States, they hail from places including England, India, Ireland, Japan, Palestine, and Turkey, and they make their works in many countries, including Brazil (a site for Ephraim Asili’s Many Thousands Gone). They team with Janie to show that great personal cinema can be realized throughout the world.

They and Janie also show that no artist acts in a vacuum. For the realization of Janie’s Focus, many people must be thanked. Among the many, Kari Rae Seekins has been responsible for the sound mixing of Janie’s recent films, and Astra Price has been fundamental for digital mastering, including of several new transfers from 16mm originals. And Mariana Shellard deserves special gratitude, since her belief in the value of this retrospective helped turn its proposal from a dream into something real and possible.


“The Red Book” (1994) uses flat, painted figures and collage elements to explore the psychic world of a female amnesiac. “The Secret Story” (1996) reveals a woman wandering through landscapes of rivers, floods, home, war, memory, and illness. “Immer Zu” (1997) evokes an undercover world of secret messages, cryptic language, and indecipherable codes. “Lost Motion” (1999) uses small cast metal figures and toy trains to depict a man’s search. “Terrace 49” (2004) shows images of impending disaster colliding with a person’s body as she vanishes into filmic texture. “The Fourth Watch” (2000) presents rooms inhabited by silent film figures that occupy the flickering space of night in a printed tin house.


Espaço Itaú (Sala 1)
Espaço Itaú (Sala 1)


“Magnetic sleep” was a 19th-century term referring to German physicist Franz Anton Mesmer’s magnetically induced trances. Geiser’s film “Magnetic sleep” is a black-and-white, elliptical narrative that unfolds over nine short, self-contained episodes. It follows a female hypnotist through an ever-shifting landscape of desire, confusion, and loss. It also integrates performers, collage animation, abstraction, rephotography, and painted elements in ways that recall silent film melodrama and serial storytelling as well as American expressionism.


Espaço Itaú (Sala 1)
Cineplex Batel (Sala 4 )


The program opens with “Ultima Thule” (2002), in which a small silver plane navigates an ultramarine storm towards the farthest point north. This film leads into The Nervous Films, a series of four collage-based works centered on the body, childhood, memory, war, illness, and loss. They use medical illustrations, photographs, found footage, and other materials to evoke, rather than to tell. These four “nervous films” – “Ghost Algebra” (2009), “Kindless Villain” (2010), “Ricky”(2011), and “The Floor of the World” (2010) – are followed by the world premiere of “Valeria Street” (2018), a photograph-based film of possible and impossible narratives.


Espaço Itaú (Sala 1)
Espaço Itaú (Sala 2)


The program “Double Vision” presents seven recent Geiser films in the following order: “Arbor” (2012), “The Hummingbird Wars” (2014), “Cathode Garden” (2015), “Silent Sister” (2016), “Kriminalistik” (2013), “Look and Learn” (2017), and “Flowers of the Sky” (2016). A double vision of a life’s journey unfolds throughout their shared course. Geiser reappropriates a number of ephemeral objects – scenic props, handwritten notes, and most especially, found photographs – to recall the past with shamanic force, fill in its absences with imagination and memory, and heal its wounds with present-day dreams.


Espaço Itaú (Sala 1)
Espaço Itaú (Sala 1)


Geiser’s early film “Spiral Vessel”, which presents exchanges between humanity and science, screens in dialogue with exchange-based films by ten other artists she admires. The program includes: “Eclipse” (2005, Jeanne Liotta), “Shadow” (2007, Ernie Gehr), “Dream of a Rarebit Fiend” (1906, Edwin S. Porter), “Many Thousands Gone” (2015, Ephraim Asili), “YOLO” (2015, Ben Russell), “Empyrean” (2017, Kalpana Subramanian), “Line Describing Your Mom” (2011, Michael Robinson), “Spiral Vessel” (2000, Janie Geiser), “Frequency Objects” (2013, Julie Murray), “Marseille Après La Guerre” (2015, Billy Woodberry), and “Village, silenced” (2012, Deborah Stratman).


Espaço Itaú (Sala 2)
Espaço Itaú (Sala 2)


The program presents films by 11 contemporary artists that Janie Geiser admires, all of them working with the theme of passages. Its lineup includes: “Prima Materia” (2015, Charlotte Pryce), “House” (2005/7, Ben Rivers), “Shape of a Surface” (2017, Nazli Dinçel), “Orpheus (outtakes)” (2012, Mary Helena Clark), “Mount Song” (2013, Shambhavi Kaul), “Ten Mornings Ten Evenings and One Horizon” (2016, Tomonari Nishikawa), “Lessons of War” (2014, Peggy Ahwesh), “The Silver Age” (2015, Lewis Klahr), “A Set of Miniatures” (2014, Jonathan Schwartz), “A Field Guide to the Ferns” (2015, Basma Alsharif), and “Wasteland No. 1: Ardent, Verdant” (2017, Jodie Mack).


Espaço Itaú (Sala 1)
Espaço Itaú (Sala 1)
21 March 2018

2018’s Art #7olhardecinema

Posted 21 de March de 2018 in conteúdo.

2018’s Art #7olhardecinema

“A breakthrough figure goes on a journey, meeting different people, emotions, cultures, seeking to expand and unify the universe.”

From this, we invited the visual artist Rômolo D’Hipólito to create the visual identity of the 7th Olhar de Cinema.

And with great joy and satisfaction that we spread this art.

16 March 2018

Itinerant section

Posted 16 de March de 2018 in conteúdo.

Itinerant section

The itinerant section is born of a need to take the cinema to the interior. Cities that do not have rooms and people who lack access to culture.

In 2017 we managed to reach 34 cities and we had an audience of more than 3,600 people.

“We believe that bringing this access to these people, especially to the municipal and state schools of the interior, creates a promotion of culture in our state. When we think about a festival just inside a movie theater in a rich neighborhood of Curitiba we are being very reductionist. The Itinerant section makes the festival much more democratic. We do exhibitions in classrooms, in sheds, in small libraries and wherever possible. The important thing is to make them accessible to the cinema. Include them in this universe. Every year we try to reach more cities and more people. Our intention is to demystify the author and independent cinema made in Brazil and in the world. “Antônio Junior, festival director.

13 March 2018

Mirada Paranaense – the local in focus

Posted 13 de March de 2018 in conteúdo.

Mirada Paranaense – the local in focus

The section Mirada Paranaense is dedicated to present to the public a panorama of the local cinema production. The audience is invited to know the early productions of the young local filmmakers, as well to follow new works from more experient filmmakers.

Antônio Junior, director of the festival, talked a little about the importance of the section for the festival.

“The Mirada Paranaense is a section that has been part of the Olhar de Cinema – CIF since its first edition. It has become a privileged space for the exhibition of the production made in the state that hosts the event and a window for young directors and filmmakers to exhibit and discuss with a crowd of more than 400 people. We always think of the Mirada Paranaense as a central show for the festival, since it is also a moment in which we launched several short and feature-films in the state and this attracts the local agents of the cinema generating an environment for meetings and building partnerships. ”

During the last 6 years we have already shown 49 productions from Paraná, between short films and feature films.
Some of the films that were here the last years have had a good career at other festivals as well.

Pavement song | A canção do asfalto

Dir. Pedro Giongo
2017, 16’
20th Mostra de Cinema de Tiradentes – Brasil – Premiere, 23 Jan 2017
5th Mostra de Cinema de Tiradentes SP – São Paulo, Brasil, 2017
9th Mostra Outros Cinemas – Fortaleza, Brasil, 2017
6th Olhar de Cinema, Int. Film Festival – Curitiba, Brasil, 2017
Curtas Brasileiros Contemporâneos na Cinémathèque Française – Paris, França, 2017
28th Festival Int. de Curtas Metragens de São Paulo – Brasil, 2017
24th Festival de Cinema de Vitória – Brasil, 2017
19th Festival Int. de Curtas de Belo Horizonte – Brasil, 2017
17th Goiânia Mostra Curtas – Brasil, 2017
14th Fenavid – Festival Int. de Cine Santa Cruz – Bolivia, 2017
27th Festival Int. de Curtas do Rio de Janeiro – Brasil, 2017
13th Cinefest Gato Preto – Lorena, Brasil, 2017
19th Festival Kinoarte de Cinema – Londrina, Brasil, 2017

World stratifies body moves | O mundo estratifica o corpo se desloca

Dir. Igor Urban
2017, 21’
6th Olhar de Cinema – Festival Internacional de Curitiba (WP – Jun 2017)
11th Cine BH – Mostra de Cinema de Belo Horizonte, 2017
4th Lumiar – Festival Interamericano de Cinema, 2017
FICBIC – Festival Internacional de Cinema da Bienal de Curitiba 2017
Festival Psicodália 2018

The great grey cloud | A Grande Nuvem Cinza

Dir. Marcelo Munhoz
2016, 72’
5th Olhar de Cinema – Curitiba International Film Festival (Estreia), 2016
18th FICA – Festival Internacional de Cinema e Vídeo Ambiental, 2016
6th FILMAMBIENTE International Environmental Film Festival, 2016
6th Mostra Ecofalante Environmental Film Festival, 2017
6th Family Film Project – Festival Internacional de Cinema de Arquivo, Memória e Etnografia, 2017
Grand Prix do Júri – 6th Family Film Project – Festival Internacional de Cinema de Arquivo, Memória e Etnografia, 2017

João & Maria

Dir. Eduardo Baggio
2016, 20’
5th Festival Olhar de Cinema 2016
12th Panorama Internacional Coisa de Cinema 2016
3th Fronteira Internacional do Filme Documentário e Experimental 2016
3th Cine Jardim 2016
2th Fevuem – Festival de Vídeos UEM 2016
Cartas do Mundão 2016 (diversas cidades em Pernambuco)
5th Festival de Cinema Curta Pinhais – Festcine 2017
Mostra Sesc de Cinema Paraná 2017
5th Jornadas do Cinema em Português (UBI – Portugal) 2017
Mostra de Cinema de Fama (MG) 2017
Festival 3 Margens 2017 (Brasil, Argentina e Paraguai)

Purple night | Noite Púrpura

Dir. Caroline Biagi
2016, 18’
5th Olhar de Cinema – Curitiba International Film Festival – Mirada Paranaense (Curitiba, PR, 2016)
2th Festicini – Festival Internacional de Cinema Independente – Mostra Paralela (Sumaré, SP, 2016)
14th Curta Santos – Festival de Cinema de Santos – Mostra das Minas (Santos, SP, 2016)
2th Mostra Ela Na Tela (Porto Alegre, RS, 2016)
4th FAB – Festival de Audiovisual de Belém – Mostra Competitiva (Belém, PA, 2016)
1th Cine Tamoio Festival – Mostra Competitiva (São Gonçalo, RJ, 2016)
11th Fest Aruanda do Audiovisual Brasileiro – Mostra Competitiva (João Pessoa, PB, 2016)
5th Iguacine – Festival de Cinema da Cidade de Nova Iguaçu – Mostra Competitiva (Nova Iguaçu, RJ, 2017)
9th Mostra Outros Cinemas (Fortaleza, CE, 2017)
4th Festival de Finos Filmes – Mostra Competitiva (São Paulo, SP, 2017)
19th Festival Kinoarte de Cinema – Competitiva Paranaense (Londrina, PR, 2017) – Prêmio de Melhor Direção de Arte
14th FIM – Festival Imagem-Movimento (Macapá, AP, 2017)
Best Production Design of the Competitive Paranaense of the 19th Festival Kinoarte de Cinema.
It was shown on Canal Brasil, and is also licensed to Hysteria, which is expected to release the movie on the online platform in the second half.

The last portrait | O último retrato

Dir. Arthur Tuoto
2016, 15’
5º Olhar de Cinema – CIFF / Mirada Paranaense (Curitiba/PR – junho/2016)
Paura Festival Internacional de Cine de Terror,  Valência/Espanha
Mostra do Filme Livre – Rio de Janeiro 2017
The film is going through the circuit of the Sesc Cinema Show, being shown in several units of the institution.
In the regional show of Sesc it won the award for Best Direction, Screenplay and Sound. And in the national show, award for best sound.

Orion | Órion

dir. Rodriane DL
2016, 16’
Palmacine – Festival de Cinema de Palmácia(Mar 2018) Palmácia/CE, Brazil
FESTin – Festival de Cinema Itinerante da Língua Portuguesa(Feb 2018) Lisboa, Portugal
10th Festival de Cinema da Lapa (Nov 2017)Lapa/PR, Brazil
11th Mostra Curta Audiovisual (Nov 2017) Campinas, Brazil
1th Festival de Cinema de Carpina (Nov 2017) Carpina/PE, Brazil
Cine Tornado Festival (Nov 2017) Curitiba/PR, Brazil
13th Cinefest Gato Preto (Nov 2017) Lorena/SP, Brazil
Cardiff International Film Festival (Oct 2017) Cardiff, United Kingdom
4th Festissauro – Festival de Cinema de Sousa (Oct 2017) Sousa/PB, Brazil
15th Festival Internacional de Cinema Infantil – FICI 2017 (Sep 2017) Rio de Janeiro, Brazil
Expressions Short Film Festival(Jul 2017) Nagpur, India
1th Mostra Feministas de Quinta (Jun 2017) Vitória/ES, Brazil
6th OLHAR DE CINEMA – Festival Internacional de Cinema de Curitib (Jun 2017) Curitiba/PR, Brazil
3th Cine Jardim (May 2017) Belo Jardim/PE, Brazil
5th Festcine – Festival de Cinema “Curta Pinhais” (Apr 2017) Pinhais/PR, Brazil
1th Bienal Internacional do Cinema Sonoro(Mar 2017) Goiânia/GO, Brazil
16th Mostra do Filme Livre (Mar 2017) Rio de Janeiro/RJ, Brazil
3th Mostra de Cinema Feminista (Mar 2017) Belo Horizonte/MG, Brazil
1th CINE TAMOIO (Dec 2016) São Gonçalo/RJ, Brazil
Mostra das Minas (Nov 2016) Santos/SP, Brazil
2th Mostra Ela na Tela (Oct 2016) Porto Alegre/RS, Brazil
2th FESTICINI – Festival Internacional de Cinema Independente (Sep 2016) Sumaré/SP, Brazil
15th Festival Internacional de Cinema Infantil – FICI 2017 (Sep 2017) Rio de Janeiro, Brazil – Prêmio Exibição TV Brasil
Cine Tornado Festival (Nov 2017) Curitiba/PR, Brazil – 2th place

Early bird | Pai aos 15

Dir. Danilo Custódio
2016, 16’
5th Olhar de Cinema – CIFF / Mirada Paranaense (Curitiba/PR – junho/2016)
14th FICI – Festival Inter. de Cinema Infantil / Mostra Teen (Rio de Janeiro/RJ – set/2016)
4th FAB – Festival de Audiovisual de Belém (Belém/PA – novembro/2016)
20th Mostra de Cinema de Tiradentes / Mostra Jovem (Tiradentes/MG – janeiro/2017)
Programa Nova Era de Arte e Educação / Cine Expressão  (Nova Era/MG – abril/2017)
11th Mostra Cinema e Direitos Humanos / Mostra Panorama: direitos da criança e do adolescente (Todas as capitais do Brasil – maio à junho/2017)
3th FestMCA – Festival Mate com Angu de Cinema Popular (Duque de Caxias/RJ – maio/2017)
12th CineOP – Mostra de Cinema de Ouro Preto / Mostra Expressão: o cinema vai à escola (Ouro Preto/MG – Junho/2017)
2th Recria Cine – Mostra de Cinema para Crianças e Adolescentes (Ervália/MG – julho/2017)
11th CineBH – Mostra Int. de Cinema de Belo Horizonte / Gestos de Cinema (Belo Horizonte/MG – agosto/2017)
28th Curta Kinoforum – Festival Int. de Curtas de São Paulo / Mostra Infanto-Juvenil (São Paulo/SP – agosto e setembro/2017)
17th Goiânia Mostra Curtas / Mostrinha (Goiânia/GO – outubro/2017)
4th Primeira Janela – Festival de Cinema Infanto Juvenil de Porto Alegre / Categoria Jovem (Porto Alegre/RS – novembro/2017)
1th Intersessões – Festival de Cinema de Ubá / Sessão Escola Juvenil (Ubá/MG – março/2018)
26th Curta Cinema – Festival Int. de Curtas do Rio de Janeiro / Processos Formativos (Rio de Janeiro/RJ – novembro/2016)
Popular Jury / 17th Goiânia Mostra Curtas – Best Picture of the Show
Brazil Children’s Cinema Prize / 14th FICI – Best Film of the Teen Show


02 March 2018

Focus 2017 // Anocha Suwichakornpong

Posted 02 de March de 2018 in conteúdo.

Focus 2017 // Anocha Suwichakornpong

Some Memories from Anocha

 The 2017 edition of the series Olhar Focus placed in spotlight the work of the great contemporary Thai filmmaker Anocha Suwichakornpong ( The series offered four programs comprised of 10 films, including the Brazilian premiere of her amazing recent feature, By the Time It Gets Dark (2016), and the international premiere of her beautiful early medium-length film Ghosts (2005).

Anocha additionally attended the festival for four days to participate in Q&As and give a Masterclass, a summary of which was generously made here in Portuguese by the critic Samantha Brasil:

Anocha at 6º Olhar de Cinema

 Since last year’s edition of Olhar, Anocha has kept busy with her film production companies Electric Eel Films ( and Purin Pictures ( She sent the short text below from her native Thailand, where she is currently realizing an art project in collaboration with the British filmmaker Ben Rivers.

 The artist in focus for 2018’s Olhar Focus will be announced shortly. It might be a woman.  


Anocha Suwichakornpong

Bangkok, 24th February 2018

Last year I visited Brazil for the very first time. Curitiba was an unfamiliar name to me. “It is cold there”, “Bring your coat” were the comments I kept hearing when I told some people that I was going there in June. And, of course, they were right – the climate was indeed rather cold during Olhar de Cinema. However, it was the warmth, enthusiasm, and generosity of the people that I met during my short visit that come to the fore when I look back on 2017.

It was a joy for me to watch the audiences – many of whose members were quite young – rushing from one screening to another. The air was filled with positive energy. I also noticed that a lot of people – film students, regular audiences, film critics and journalists, festival staff, and programmers – seemed to take a healthy interest in issues surrounding women and women filmmakers. This was an experience that I do not recall having anywhere else.

The programming was equally impressive to me. As my time in Curitiba was rather limited, I did not have the chance to watch as many films as I wish I could have watched. However, I was fortunate enough to catch Murnau’s Tabu: A Story of the South Seas (1931) – what a glorious film! Also of note was Machines (2016), by Rahul Jain, an Indian filmmaker who also came to the festival and who arrived on the same flight with me. Friendship was formed.

Finally, it was the programmer Aaron Cutler whom I must sincerely thank. Aaron was the magician that made my trip possible and truly memorable. It all started when he proposed a program focusing on my work.

Now we have the beginning.


By The Time It Gets Dark (Anocha Suwichakornpong, 2016)

Mundane History (Anocha Suwichakornpong, 2009)

Machines (Rahul Jain, 2016)


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