For this behemoth, Bressane took his opera omnia and edited it in an order that first adheres to historical chronology but soon starts to move backwards and forward. The various pasts – the 60s, the 80s, the 2000s – comment on each other in a way that sheds light on Bressane’s themes and obsessions, which become increasingly apparent and finally, a whole idea of cinema reveals itself to the curious and patient viewer. Will Bressane, from now on, rework The Long Voyage of the Yellow Bus when he makes another film? Is this his latest beginning? Why not, for the eternally young master maverick seems to embark on a maiden voyage with each and every new film!
An authentically marginal cinema created in Catholic university in Brazil. One of the most intriguing and imaginative moments in modern cinema in the voice of some of its select conspirators—with Carlos Reichenbach at the lead—, and through the most razing flow of images that can possibly be conceived.
In 1965, a year after the military coup in Brazil, an oasis of freedom opened in the country's capital. The Brasília Film Festival: a landmark of cultural and political resistance. Its story is that of Brazilian cinema itself.
Extracts is a short film with images from 1970 to 1972 in the cities of Rio de Janeiro, Salvador, London, Marrakech, Rabat and the Sahara Desert region. The images were filmed by Helena Ignez and Rogério Sganzerla in exile, in the "leaden years" of the military dictatorship.
Helena Ignez is one of the main female figures of Brazilian cinema. She developed a new style of acting. Nowadays, she directs independent films. The documentary tells some of the History of Brazilian cinema, its political context and Helena's trajectory.
Two years of research and visits to collections, cinematheques and museums; almost seventy interviews that generated 30 hours of recorded material; more than two hundred scanned photos and more than one hundred films watched. In total, more than a thousand hours of work were needed to prepare Brazilian Cinema in the 20th Century. The work is a fascinating journey through all the cinematic cycles that Brazil lived, from the pioneering Belle Époque, through the great studios like Atlântica and Cinédia, Cinema Novo, the urban comedies of the 70's, until the resumption in the late 90's. The documentary is unique, it gives the floor to who really wrote and lived this story intensely.
A documentary on the restoration of Rogério Sganzerla's 1970 film "Copacabana, Mon Amour".
A documentary on prolific underground Brazilian filmmaker Rogério Sganzerla.
Rogério Sganzerla (1946 — 2004) was a Brazilian filmmaker and one of the main names of the Cinema de Invenção (or Cinema Marginal) underground movement. Influenced by Orson Welles, Jean-Luc Godard, and José Mojica Marins, Sganzerla often used clichés from film noir and pornochanchadas. Irony, narrative subversion and collage were trademarks of his film aesthetics. Sganzerla was born in Joaçaba, in the state of Santa Catarina, but moved with his family to São Paulo at a very young age, living there for most of his life. During the 1960s he wrote for the newspaper "O Estado de S. Paulo" ("The State of S. Paulo") as film critic, quickly being recognised as a young talent. In 1967, Sganzerla directed his first short film, "Documentário" ("Documentary"), winning an award at the JB-Mesbla 16mm Festival. "Documentário" was quickly followed up by his first feature-length film in 1968, "O Bandido da Luz Vermelha" ("The Red Light Bandit"), which became a landmark for the movement known as Cinema de Invenção or Cinema Marginal and is still Sganzerla's most well-known film. In 1970, he founded the "Bel-Air Filmes" production company along with fellow Cinema de Invenção filmmaker Júlio Bressane. Headed by Sganzerla, the company produced his films "Copacabana Mon Amour", "Carnaval na Lama" and "Sem Essa, Aranha" and Bressane's "A Família do Barulho", "Barão Olavo, o Horrível" and "Cuidado, Madame", all shot in Brazil during four months of 1970 and edited abroad, in England, when both Sganzerla and Bressane were banished from their home country by the then rulling military dictatorship. While in exile, both Sganzerla and Bressane continued to shoot new films. Sganzerla's personal obsessions, such as director Orson Welles (and his infamous visit to Brazil) and musicians Noel Rosa and Jimi Hendrix, appear in many of his films, going as far as being the main subject in some of them. In 1985, Sganzerla directed the docufiction "Nem Tudo É Verdade" ("It's Not All True") about Orson Welles' arrival in Brazil to film his unfinished documentary "It's All True". Sganzerla died in 2004, of a brain tumor, shortly after finishing his last film "O Signo do Caos" ("The Sign of Chaos"). Description above from the Wikipedia article Rogério Sganzerla licensed under CC-BY-SA, full list of contributors on Wikipedia.
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