World Cinema


A boy does not want to eat, his parents insist, but he cannot do it, there is an ox in the house's living room and he is the only one who sees it (Free Fall). A convent, a young nun, a black and white photograph: a perfect cinematographic plan (Ida). A female character, her husband and the selected space of a house, the whole emptiness of a life together, the silences, the small gestures and dialogues, the crisis of postmodernity in middle age relationships, either here or in London (Exhibition). Thirteen screens of Edward Hopper, pictorial and hyperrealistic women in moving images (Shirley).

Twenty-eight films from eighteen countries, representations of the contemporary cinema through the eyes of thirty two film-makers. Reality or fiction, poetry or pure fantasy, layers of images and meanings that we want INDIE to bring to the viewer and, by doing so, to turn itself into a space of resonance for the several ways of making films and exchanging ideas and styles.

20.000 Days on Earth, one of the most celebrated documentaries of 2014, is actually a fiction movie. The main character is Nick Cave himself who tells us a bit about his life, ideas and concerns, while sharing one day with his audience. An audience anxious to understand what still keeps it a cult. Directors Iain Forsyth and Jane Pollard have made ??a film that goes beyond the tiring pattern of testimonies through a sophisticated assemblage that leaves Nick Cave even more comfortable playing his own role. A dip.

Latin American cinema is greatly highlighted in this edition. There will be four Argentine films, reflecting the country's very productive year: Dos disparos, the long-awaited new work by the celebrated Martín Rejtman; Matías Piñeiro's La Princesa de Francia and Alejo Moguillansky and Fia-Stina Sandlund's El Escarabajo de Oro, which are three of the most acclaimed films exhibited in the latest edition of the Locarno's Festival. Benjamin Naishat's Historia del Miedo, a debut film by another Argentine, and Los Ausentes, directed by the Mexican Nicolás Pereda, complete the program. All of them debuting in Brazil.

Another highlight is the selection of Japanese films made by two directors who have already been acclaimed with a complete retrospective of their works at the festival in previous years. Kazuyoshi Kumakiri, who has just turned forty years old, continues to use his belligerent verve towards the Japanese mainstream. In My Man, his unusual characters are on the margins of the Japanese society. Kumakiri places a man and a girl in the center of his gaze, while using a fictional tone that is still somewhat full of mystery, despair and fantasy. On the other hand, the brilliant veteran Kyoshi Kurosawa leaves Japan also to create a female character in the city of Vladivostok, Russia, dialoguing with J-pop. It is a structurally mild film, similar to manga, almost juvenile, but that still presents signs of his authorial force with a touch of violence and fantastic tone: unusual and surprising.

Two new directors, who are near opposites in style and proposal, have likewise been selected for INDIE 2014: Koji Fukada with his lyricism well inspired by Eric Rohmer's Au Revoir L'été. In Anatomy of a Paper Clip, a winner of the Hivos Tyger Awards granted by an international jury at Rotterdam, Akira Ikeda creates a separate world, completely original and fictional (nearly a fable) to talk about something very contemporary: submission, bullying and especially humiliation. Themes that are highly regarded by a society that values education, goodness and collectivism in excess.

From Japan to Sweden. Three teenagers, full of boredom and hormones, discover punk (did he already die? Really? It cannot be!) and put together a band without knowing how to play anything at all. The Swedish film-maker Lukas Moodysson creates We are the best! in which he goes back to the past in the role of a teenager with his unease feeling of inadequacy, but, at this time, in a mild and funny way.

Director Pawel Pawlikowski was born in Poland, but built his career in London. Ida is about his return to his homeland, on a cinematographically classic and flawless film. The discovery of an identity never imagined, the sad political history of a country that has attacked its own people, but, mostly, the choices we make.

INDIE makes a riskier bet by selecting films that move between the documentary and experimental form: Eric Baudelaire's Letters to Max and J.P. Sniadecki's The Iron Ministry. Two films that allow us to dive deeper into the authorial works developed by directors, who, being nearly on opposite sides in terms of film language, somehow complement each other in their need to document alterity as well as the way we relate to a world that continually escapes us.

In this edition, INDIE also presents for the first time a session composed of short features: Eduardo Williams's J'ai Oublié, Nicolas Boone's Hillbrow and Alessio Rigo de Righi and Matteo Zoopis's Belva Nera. Three works by directors who have not yet made their first feature film, nevertheless we intend to follow their steps right away because we believe they make a cinema that is powerful, vibrant and essential to our eyes.

It is important for INDIE to have here a snatch of everything that the contemporary cinema presents, hence the viewer will always be able to see in it the place of importance and representativeness that is requiered.

Daniella Azzi, Francesca Azzi and Gustavo Beck

Cine Humberto Mauro
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Belas Artes Cinema
Rua Gonçalves Dias, 1.561 | Funcionários
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Sesc Palladium
Sala Professor José Tavares de Barros
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19º55'29.1"S 43º57'46.8"W