Archive 2021


Competitive | Features

Ivan Tverdovskiy

Natalia Garayalde

Brother’s Keeper
Turkey, Romania
Ferit Karahan

The Dream of the Useless
José Marques de Carvalho Jr.

Sweet River
Fellipe Fernandes

Rolê – Stories of Brazilian Protests in Malls
Vladimir Seixas

Damascus Dreams
Emilie Serri

So Foul a Sky
Colombia, Spain, United Kingdom
Álvaro F. Pulpeiro

France, Germany, Niger
Aïcha Macky

Competitive | Shorts

The Infernal Machine
Francis Vogner dos Reis

Lunch Break
Nina Kopko

My Uncle Tudor
Belgium, Hungary, Moldavia, Portugal
Olga Lucovnicova

Listen To the Beat of our Images
Maxime Jean-Baptiste, Audrey Jean-Baptiste

Bless You!
Poland, Russia
Tatiana Chistova

Under the White Mask: The Film that Haesaerts Could Have Made
Matthias De Groof

Les Tissus Blancs
França, Senegal
Moly Kane

Tereza Joséfa de Jesus
Samuel Costa

A Wild Patience Has Taken Me Here
Érica Sarmet

Dounia Sichov

New Views

The City of Abysses
Priscyla Bettim, Renato Coelho

Careless Crime
Shahram Mokri

Manque La Banca

Rock Bottom Riser
United States of America
Fern Silva

Tzarevna Scaling
Uldus Bakhtiozina

Becoming Sea / Meer Werden
Brazil, Germany
Philipp Hartmann, Danilo Carvalho

Other Views | Features

The Calm After the Storm
Mercedes Gaviria

The Night’s Substance
Bernard Lessa

Nothing But the Sun
Paraguay, Switzerland
Arami Ullon

Delphine’s Prayers
Cameroon, Belgium
Rosine Mbakam

God Has AIDS
Fábio Leal, Gustavo Vinagre

Girls | Museum
Shelly Silver

I Will Never Be the Same
Argentina, Brasil, Honduras, Mexico
Alice Lanari

Norte by Current
United States of America
Angelo Madsen Minax

Other Views | Shorts

The Communion of My Cousin Andrea
Brandán Cerviño Abeledo

Its’s Not Our Fault
Humberto Schumacher

Letter from Your Far-Off Country
United States of America
Suneil Sanzgiri

There Is a Ghost of Me
Holanda, Peru
Mateo Vega

I Look Forward to Our Independence
Algeria, Brazil
Bruna Carvalho Almeida, Bruna Laboissière

Naughty Spot
Jean Costa

Lili Alone
China, Hong Kong
Zou Jing

Nha Mila
Portugal, Switzerland
Denise Fernandes

What Is Not Seen
Paulo Abreu

Close To You
Cássio Kelm

Argentina, France
Isabel Loyer, Luis Paris


The Roof
Kamal Aljafari

Port of Memory
Kamal Aljafari

Kamal Aljafari

An Unusual Summer
Kamal Aljafari

Special Screenings

Capitu and the Chapter
Júlio Bressane

The Good Cinema
Eugenio Puppo

Inside the Red Brick Wall
Hong Kong
Documentaristas de Hong Kong

Mirada Paranaense

Bia Plus One
Wellington Sari

William de Oliveira

The Search of Self and Silence
Giuliano Robert

Tiago Lipka

These Women Are My Beginning
Jessica Quadros

March of a Stolen Freedom
Laís da Rosa Coelho

My Heart Is A Little More Empty In The Flood
Sabrina Trentim

A Shoot in a History
Luiz Bonin, Oda Rodrigues

Second Nature
Milla Jung

Brazilian Views | Features

King Car
Renata Pinheiro

Bruno Costa

Nũhũ Yãg Mũ Yõg Hãm: This Land is Our Land!
Isael Maxakali, Sueli Maxakali, Carolina Canguçu, Roberto Romero

The Good Will Come
Uilma Queiroz

Pedro Urano

Brazilian Views | Shorts

Michael’s War
Gregorio Gananian, Daniel Tagliari

The Times I’m Not There
Dandara de Morais

Beatutiful Carnivals
Thiago B. Mendonça

Maurício Chades

Big Word
Manoela Ziggiatti

When the Night Comes, Step Slowly
Gabriela Alcântara



Cíntia Gil

Born in Portugal, Cíntia Gil studied at the Lisbon Theater and Film School and holds a licentiate degree in Philosophy from the Faculty of Arts of the University of Porto. From 2012 to 2019, she was co-director and later director of the Doclisboa International Film Festival. From 2019 to 2021 she directed the Sheffield DocFest, in the UK, where she left in July 2021 due to artistic differences with the Board of Trustees. Cíntia has curated assorted contemporary and historical film programs, retrospectives, and exhibitions.

Heloísa Passos

She has recently worked as cinematographer for the film Nothing Lasts Forever by Jason Kohn and Fortaleza Hotel by Armando Praça. She was nominated for the Brazilian Academy of Cinema award for the cinematography in the film Deslembro, by Flávia Castro (Venice, 2018). She has twice received the award for best cinematography at the Rio de Janeiro Film Festival, for Viajo Porque Preciso, Volto Porque Te Amo (Veneza, 2009) and Mulher do Pai (Berlin 2017). Her first feature as a director, Construindo Pontes, premiered at the IDFA.

Janaína Oliveira

Janaína Oliveira is researcher and curator. She holds a PhD in History and teaches at the Federal Institute of Rio de Janeiro (IFRJ). She was also a Fulbright Scholar at the Center for African Studies-Howard University, in Washington DC, USA. Since 2009, she has been developing research on Black and African cinema, also serving as a consultant, jury, and panelist in several film festivals and exhibitions in Brazil and abroad. In 2019 she organized the exhibition “Soul in the eye: Zózimo Bulbul’s legacy and Contemporary Black Brazilian Cinema” at the IFFR-International Film Festival Rotterdam. She was also a film consultant for African films and the Black Diaspora for the Locarno International Film Festival (2019-2020). She currently serves as a curator for the Zózimo Bulbul Black Cinema Meeting (RJ)-FINCAR (Women Filmmakers IFF/PE), and Baobácine African Film Exhibit in Recife. She is a member of APAN (Association of Black Audiovisual Professionals). She is the founder and coordinator of FICINE, Itinerant Black Cinema Forum ( and served as programmer at the Flaherty Film Seminar (New York) in July 2021.

New Views / Brazilian Views

Ana Souza

Ana Souza is a member of the programming team of the Sundance Film Festival, where she serves as a curator for international and national fiction films as well as for the Midnight section. Souza also works as Programming Director for the Sun Valley Festival in Idaho, and was the producer for this year’s Palm Springs International ShortFest Forum. She has collaborated in different capacities with several festivals, among which the LA Film Festival, AFI FEST, Outfest, the Los Angeles Latino International Film Festival, Ambulante California, among others.

Emilie Bujès

Emilie Bujès is the Artistic director of Visions du Réel, International Film Festival and is a Program advisor for Cannes Directors’ Fortnight, as well as an expert for the Swiss fund visions sud est. She formerly was a curator at the Geneva Contemporary Art Center and has contributed to the program of festivals and art institutions such as Forum Expanded–Berlinale, Contemporary Art Centre Vilnius, Lausanne Underground Film Festival, Transmediale (Berlin). She received a Swiss Art Award for curators in 2014.

Greg de Cuir Jr.

Greg de Cuir Jr is an independent curator, writer and translator who lives and works in Belgrade, Serbia.

Other Views

Alia Ayman

Alia Ayman is a doctoral candidate in socio-cultural anthropology at New York University where she is writing a dissertation on decoloniality, difference and the global circulation of documentary images. She is a cofounder of the Cairo-based Zawya Cinema and an independent film and moving image curator who has worked with Berlinale Forum, The International Documentary Film Festival Amsterdam (IDFA), BlackStar Film Festival, Flaherty NYC and Images Festival, among others.

Dea Ferraz

Dea Ferraz was born in the state of Pernambuco, Brazil. She is a director and audiovisual researcher. Her career includes the feature films “Câmara de Espelhos” (2016), “Modo de Produção” (2017), “Mateus” (2018), and AGORA (2020), all of which screened and awarded in renowned sections at the Brasilia Film Festival; Janela IFF; Panorama – Coisa de Cinema; Olhar de Cinema; ForumDoc; Tiradentes Film Festival; and Sesc Nacional Cinema Exhibition, as well as in Latin American festivals such as Santiago Alvarez (Cuba) and DOCSDF (Mexico). Dea is a member of the Gambiarra Collective, a doctoral candidate at UFPE, and currently organizing the distribution of her latest film, “Agora”.

Wood Lin

Wood LIN received his MA from the Graduate Institute of Sound and Image Studies at Tainan National University of the Arts. He is a filmmaker, film critic, writer, and festival organizer specializing in documentaries. He has served as program director of Taiwan International Documentary Festival (TIDF) since 2013 and now is the program advisor of International Documentary Festival Amsterdam (IDFA). The program “Imaging the Avant-Garde: Taiwan’s Film Experiments of the 1960s” he curated has toured to many film festivals and institutions like Anthology Film Archive, Thai Film Archive, EXiS, etc. He also served as a juror in many international film festivals, like DokuFest (Kosovo), Sheffield Doc/Fest (UK), Verite Cinema (Iran), Golden Horse Awards (Taipei), Hong Kong International Film Festival, and Taipei Film Festival and others.


Catalina Sofia

Member of the programming and curatorship team of the Atalante Cineclub at the Curitiba Cinematheque since 2018. Researcher with a BA in Cinema and Video from the State University of Paraná (UNESPAR).

Cíntia Domit Bittar

Director, screenwriter, producer, and editor for films screened at several festivals since 2011. Her most recent work is “Baile”, finalist for the Brazilian Cinema GP, best short film at the 60th FICCI, best direction at the 29th Curta Cinema, Top 10 audience award at the 30th Kinoforum, selected for the 66th Oberhausen ISFF, 44th Hong Kong IFF, 38th Uruguay IFF, 21st Rio International Film Fes- tival, among others. She is a partner at Novelo Filmes (Florianópolis, 2010-).

Flávio Rocha

Researches the production and dissemination of Super 8 films in the 1970s in Brazil. He holds an MA in Image and Sound from UFSCAR, a specialist degree in Communication and Semiotics from PUC-PR, and a BA in History from UFPR. He is a documentary filmmaker, photographer and video maker with a focus on theater, visual arts, music, popular cultures, and traditional peoples. His work is directly linked to the cultural practices and manifestations of the peoples who live on the Paraná coastline.


Emanuela Siqueira

Emanuela Siqueira is a doctoral candidate in Literary Studies at UFPR, film critic, and translator. She has been writing about cinema since 2008 and currently publishes on the websites Cine Varda and Quadro por Quadro. She has served as jury member and curator for festivals such as Olhar de Cinema, Colors and Cinefantasy. Her primary research interest includes representation of women in cinema and women filmmakers.

Wallace Andrioli

Wallace Andrioli was born in Minas Gerais and has lived in Rio de Janeiro since 2014. He holds a PhD in History from the Fluminense Federal University, with his research interest in film production in authoritarian regimes. He is a collaborating professor in the Graduate Program in History at the Federal University of Juiz de Fora and film critic for the Plano Aberto website and Contrabando magazine.

Yasmine Evaristo

Yasmine Evaristo is from Belo Horizonte, Minas Gerais, where she lives. She holds a BA in Fine Arts from the Guignard School and is currently an undergraduate student in Literature and Publishing Technology at CEFET-MG. She researches fantastic cinema, with an emphasis on horror and horror cinema, as well as representation and representation of Black people in cinema. She is a film critic and content creator for the websites Music Non Stop and Clube da Poltrona, as well as co-founder and film critic for the website Longa História.


Good People

Cíntia Domit Bittar

Cíntia Domit Bittar

Ana Paula Mendes

production company
Novelo Filmes


Kauan Oliveira

Kauan Oliveira

Amaral Mateus

production company
Dominó Produções


Begê Muniz

Begê Muniz

Elisa Telles

production company
Jamary Films

Purple Nest

Alice Stamato
Val Hidalgo

Alice Stamato
Val Hidalgo

Thiago Briglia

production company
Platô Filmes

Close to Midnight

Maick Hannder

Maick Hannder

Bruno Greco
Jacson Dias

production company
Ponta de Anzol Filmes

coproduction company
Vitrine Filmes


Lico Cardoso

Renato Candido

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.

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