Indie Brazil

Films

The third world will blow up!*

Brazilian cinema has always been present at the Indie festival. With a program exclusively dedicated to the national contemporary productions, Indie Brazil has tried, in all of its 14th editions, to select films that considering their authorial features, preferably in the case of new directors, would dialogue with the international programming, both with the films from the World Cinema as well as the renowned directors of the retrospectives. To dialogue in the extended sense: to show its existence and cinematic features on a world stage and, simultaneously, to understand it as a producer of language in such exchange of styles, narratives and ways of making film. Our idea for Indie Brazil has always been to exhibit films that could also be shown on the World Cinema along with many other countries productions.

All the same, it seems necessary to get farther. The recognition process is constructed; it is not enough to have been born Brazilian in order to feel identified with what is on the cinema screens. It is necessary to make someone sees in order to understand(be) the Brazilian cinema.

What happens from this year and onwards is then a proposed conceptual extension developed by the curatorship. Lets seek new forms of dialogue also among Brazilian own works and its past and present, creating a better understanding of the meanings, concept and signifiers that have built our cinema. New films can be considered along with others that have been fundamental to the history and formation of our national cinema. Classics that many have only heard of, but have never seen in the theaters.

Contemporaneity in the beautiful and poetic first feature entitled A História da Eternidade, made by a director from Pernambuco, Camilo Cavalcanti; the originality of Sinfonia da Necrópole by Juliana Rojas, from São Paulo; and a documentary about the hip hop icon, Nelson Triunfo. There are also the fundamental classics from one of the most important periods of our cinema, the marginal cinema: Memórias de um estrangulador de loiras (1971) e Matou a família e foi ao cinema (1969) by Júlio Bressane and O Bandido da Luz Vermelha* (1968) by Rogério Sganzerla.

The one who is not wearing a shoe can not remain, can not remain, cannot!*

Daniella Azzi
Curator

Cine Humberto Mauro
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Contato
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19º55'29.1"S 43º57'46.8"W