Good People

roteiro
Cíntia Domit Bittar

direction
Cíntia Domit Bittar

production
Ana Paula Mendes

production company
Novelo Filmes

Greenville

screenplay
Kauan Oliveira

direction
Kauan Oliveira

production
Amaral Mateus

production company
Dominó Produções

Jamary

screenplay
Begê Muniz

direction
Begê Muniz

production
Elisa Telles

production company
Jamary Films

Purple Nest

screenplay
Alice Stamato
Val Hidalgo

direction
Alice Stamato
Val Hidalgo

production
Thiago Briglia

production company
Platô Filmes

Close to Midnight

screenplay
Maick Hannder

direction
Maick Hannder

production
Bruno Greco
Jacson Dias

production company
Ponta de Anzol Filmes

coproduction company
Vitrine Filmes

Door

screenplay
Lico Cardoso

direction
Renato Candido

production
Lico Cardoso

production company
Eulírica Audiovisual

10th Olhar de Cinema Programming Team

An open conversation with the cura- tors of the 10th edition of Olhar de Cinema regarding this year’s selection, films, and events.

Online Festivals: Learning and Proscpects

In the past year, we have witnessed a proliferation of online festivals. If, on the one hand, the virtual presence has benefited festivals, which can now exist beyond their geographic barriers, on the other hand producers, directors, and distributors have debated whether or not to participate in these spaces. The many issues under debate include film security and the negotiation of film rights with players. But what have we learned thus far? What is the role of a film festival within the audiovisual mar- ket and in a film’s career? What are the prospects from now on?

The Importance of Audiovisual Preservation: From Production to Public Policies

Audiovisual preservation is one of the constitutive links within the audiovisual chain and urgently warrants further attention for the effective implementation of its manifold dimensions. This seminar, a partnership between Olhar de Cinema and the Brazilian Association of Audiovisual Preservation (ABPA), will discuss this issue in Brazil from multiple perspectives: the need to incorporate preservation actions as early as the production stage, the ethical use of archival materials, the urgent need to improve public policies for audiovisual heritage and the work of memory institutions.

Films Don't Just Fit on the Screen: Pre-Launch of the "Writing Cinema" Collection

The Writing Cinema Collection expands filmmaking to the pages of books, switching from lenses to letters, replacing screenplay with reflection. In the volumes comprising the collection, university researchers shed light on theoretical, historical, and critical dimensions of different works of world cinema, in constant dialogue with other fields of knowledge, albeit always returning to the films themselves.

Literary Adaptation for Audiovisual Media

From an original text by Joël Pommerat, screenwriter and director Murilo Hauser presents a thoroughly reimagined version of The Dealers amid a reality of isolation and helplessness. After the screening, Sônia Procópio will mediate a conversation with the filmmaker about his creative process, reflecting upon the possible intersections between theatrical and audiovisual languages, addressing the particularities of the adaptation process in which we must abandon great characters, scenes, and ideas from the original source material for the film to gain a life of its own.

Decoloniality in Film Productions

Brazil 2021: the act of (de)colonizing cinema as a political and collective action means going beyond the landscape of images, discourses, and treading into the pragmatic field of the cinematic experience itself, from the modes of manufacturing and production to the distribution and experience of the works. The challenge lies in visiting the environments, locating the subjects, and exploring the conditions of access to images. Before we can reproduce and represent different imaginaries on the screens, we must enhance the echoes of experiences, bodies, and cosmologies. Decolonizing is the practice of listening and sharing.

Open Conversation with Kamal Aljafari

The featured filmmaker in this year’s Focus Section will talk about his work.

Masterclass Radu Jude - Sketches for a Nonconformist Poetics

Radu Jude is interested in filming Romanian history (and therefore European history), not restricted to the decades during which the insipid cretin Ceausescu ruled over the will of his people. The contempt for Jews, Gypsies, or dissidents defines the fascist rhetoric which permeated his country. Well aware of this scenario, Jude films it over and over again, as if in doing so he may evoke the allure of reactionary thought. The Masterclass will address the director’s poetic strategies for exploring the relationship between the past and present through assorted archives, as well as the procedures for the historical reconstruction of a given era, and the mindful approach towards filming a testimonial account amid a present that never ceases to connect with the past. Some of his best-known films will serve as analytical examples as he debates what it means to make political cinema in our century.