Avé
Bulgaria
Konstantin Bojanov
Country Music
Chile/United States
Alberto Fuguet
Habana Muda
France
Eric Brach
Karen Cries in a Bus
Colombia
Gabriel Rojas Vera
Las Acacias
Argentina/Spain
Pablo Giorgelli
Blood of my Blood
Portugal
João Canijo
Snackbar
Netherlands
Meral Uslu
Southwest
Brazil
Eduardo Nunes
The Education
Germany
Dirk Lütter
Totem
Germany
Jessica Krummacher
Volcano
Iceland
Rúnar Rúnarsson
The Hyperwomen
Brazil
Carlos Fausto, Leonardo Sette e Takumã Kuikuro
Wanderers
Brazil/Argentina
Sergio Oliveira e Renata Pinheiro
Swirl
Brazil/Spain/Germany
Clarissa Campolina e Helvécio Martins Jr.
HU Enigma
Brazil
Pedro Urano e Joana Traub Csekö
All of God’s Creations
Brazil
André da Costa Pinto
Beast
Hungary
Attila Till
Could See a Puma
Argentina
Eduardo Williams
Cross-Country
France
Maryna Vroda
It’s Nothing
Canada
Nicolas Roy
Juku
Bolivia/Argentina
Kiro Russo
July 1st, An Unhappy Birthday
Hong Kong
Miao Li
Late and Deep
Norway
Devin Horan
External Memories of an Aliased Woman
Brazil
Eduardo Kishimoto
Mezanin
Croatia
Dalibor Matanic
Narcocorrido
United States
Ryan Prows
One Night with You
Canada
Jeanne Leblanc
Tomorrow Algiers
Algeria
Amin – Sidi-boumediène
Wind Session, Tiger Woman
United States
Paavo Hanninen
Family Affair
Brazil
Caru Alves de Souza
Dona Sônia Borrowed a Gun From her Neighbor Alcides
Brazil
Gabriel Martins
Between Us, Money
Brazil
Renan Rovida
By Your Side
Brazil
Marcelo Caetano
OMA
Brazil
Michael Wahrmann
Walt Disney Square
Brazil
Renata Pinheiro e Sergio Pinheiro
Barrel Organ
Brazil
Marcus Vinícius Vasconcelos
Pathway
Brazil
Diego Florentino
Between Us
Netherlands
Paloma Aguilera Valdebenito
Monika
Germany
Christian Werner
Beyond the Mountains
Portugal
Aya Koretzky
Lifeguard
Chile
Maite Alberdi
Either Way
Iceland/United Kingdom
Hafsteinn Gunnar Sigurdsson
Gangster Project
Germany/South Africa
Teboho Edkins
Sign
Portugal
António Correia
I Am White Mercenary
Iraq
Taha Karimi
Look at me Again
Brazil
Claudia Proscilla e Kiko Goifman
Siberia
France
Joana Preiss
The Bird
France
Yves Caumon
The Sleeping Girl
Germany
Rainer Kirberg
Twiggy
France
Emmanuelle Millet
Journey to Portugal
Portugal
Sérgio Tréfaut
Vikingland
Spain
Xurxo Chirro
Buraco Negro
Brazil
Cinthia Marcelle e Tiago Mata Machado
Elegia
Brazil
Bárbara Felice e Tamíris Spinelli
Imprescindíveis
Brazil
Carlosmagno Rodrigues
Nuvem
Brazil
Avrore
O Amor em um Ato
Brazil
Arthur Tuoto
Sangre
Brazil
Cris Ventura
Trópico de Capricórnio
Brazil
Kika Nicoleta
Waning
Canada
Gina Haraszti
Unipixelated: One
Sweden
Anders Weberg
Shadows
United States
John Cassavetes
Faces
United States
John Cassavetes
A Woman Under Influence
United States
John Cassavetes
The Killing of a Chinese Bookie
United States
John Cassavetes
Opening Night
United States
John Cassavetes
Iván – Back to the Past
Brazil
Guto Pasko
In-Between
Brazil
Heloisa Passos
IN
Brazil
Bruno de Oliveira
The Discard
Brazil
Carlon Hardt, Lucas Fernandes
Dinossaur Eggs in the Living Room
Brazil
Rafael Urban
If you Let your Heart Fearlessly Beating
Brazil
Tamíris Spinelli
Born in Roma, Italy. In 1953 he went to São Paulo, where lives until these days. He is a director producer, writer and director of photography. In 1970, he directed the classic feature film Bang Bang. He was the first one to use portable video equipments in Brazil and, between 1977 and 1984, he made a wide research about American Indian’s Culture. Also, he is a film language researcher and currently he is the Extrema Company’s director.
Graduated in Image and Sound Designer from Buenos Aires University, Eloisa Solaas has taken part in several films as a writer and assistant director. Since 2011 she is a member of the BAFICI’s artistic crew and, since 2007, a member of the committee selection and programmer. Also, she is a professor in several Colleges in Buenos Aires.
A Chilean diretor, José Luis Torres Leiva make importante short and independente films such as Ningún Lugar in Ninguna Parte (2004), Obrieras Salienda de la Fábrica (2005), Trance (2009), among others that have been screened in several international film festivals. El Cielo, la Tierra y La Lluvia, his first feature film the premiered in Rotterdam Film Festival in 2008, won the FICPRESCI Award. His second feature film, Verano, premiered on the section Orizzonti of the Venice Film Festival.
He graduated in social communication – advertising from UFPR and post graduated in communication and culture from UTFPR. He won more than 60 awards as a short, medium length and feature film director, scriptwriter and editor, becoming one of the most important directors from Paraná State. Also, he is a cinema professor at FAP and PUCPR. Since 2011 he is the image and Sound Museum1s director in Paraná State.
Leonardo Cata Preta is 36 years old. He is na independente filmmaker, animator, ilustrator, designer and artist. O Céu no Andar de Baixo, his latest work as a diretor was screened in several international and Brazilian film festivals and won more than 30 awards in justo ne year. Currently he is producing his first fiction film, Até que Não Haja Mais Lugar, and also he is and art director in the first animated feature film from Minas Gerais State, Nimuendaju.
Graduated and máster degree in music and philosophy from New York University. She worked during 10 years at the cinema department of the New York University. Her second feature film, A Via Láctea, world premiered in the Semaine International de la Critique in Cannes and screened in several film festivals. Also, she was a cinema professor at UFSCar and FAP.
He graduated in sociology from UNESP and studies cinema at FAP. He was a researcher for a documentary film about cane cutters and agribusiness, coordinator of a documentary film workshop and cultural workshops of the São Paulo State and a Jr. committee selection’s member of the Festival do Minuto. He directed the short film Digito Ergo Sum that participated of the festival Claro Curtíssimo and produced the video at Tranquilidade na Clareira do Caos, directed by Hannah Diaz and Marcela Goellner.
He studies cinema at FAP and Works as a film academic researcher, about film and vídeo at Espaço de Arte. He wrote film reviews for the newspaper Ex-pressões, from Londrina, and for the website naoesqueci.com.br. Currently, he teaches documentary film theory and language cinema history, new media and image pedagogy for children.
He studies cinema at FAP. He directed short films Vó Maria (2011), Miragem (2011) and Nem a Mim, Nem a Ti (2012) and wrote the screenplay Lá For a Está Tudo Calmo, a winner project of screenwriting competition of MinC/SAV. He was an editor of the films Intervalo (2010), Mimese (2010), Meio-Dia, Isabela (2011) and Coloridos (2011).
Graduated in journalism from PUCRJ, he has master’s degrees in journalism from Navarra University (Spain), in strategic direction from Positivo University and in film and television business from Fundação Getúlio Vargas. He was a manager of production and journalism and currently he is the director of programming at the TV channel RPCTV.
Graduated in publicity and advertising, he studied screenplay at Instituto de Estudos de Televisão-RJ and International Film Academy of São Paulo. He started his professional career around 7 years ago. He worked in some film production companies and currently is a writer and assistant director of the TV serie Casos e Causos at the TV channel RPCTV.
Graduated in Journalism from UniverCidade-RJ, he has a master’s degree in film and television business from Fundação Getúlio Vargas. He was a coordinator at the TV channel GNT, an events coordinator of the reality show Big Brother Brazil and currently he is a production manager and film director at the TV Channel RPCTV, where he has already directed more than 40 short films.
A generaw view of Technologies and products for the production of digital cinema captured by using super 35mm sensors.
Why aren’t independent films able to achieve a suitable distribution? What is the vision of film audiences in Brazil? What are the strategies to release a film that is by the wayside of the dominant aesthetic sense?
With the arrival of digital technology and cheaper production, alternative ways of filmmaking have become common. But what are these days of working? Is it possible to identify, catalog and categorize them?
One of the major gap in national cinema production chain is distribution. Among the more than 160 feature films made every year in Brazil, one quarter of them comes to movie theaters, and out of these, few surpass the barrier of 100.000 spectators. What are the ways for international distribution?
Given the continental size of Brazil and the concentration of financial resources, professional workforce and theaters in specific areas, the Federal Government is trying to decentralize the country’s public resources in order to allow the cultural production in different states and cities.
