Browse Items (150 total)
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El impulso documental en el cine latinoamericano
Este curso pretende ofrecerles a los estudiantes una introducción al cine latinoamericano al trazar su trayectoria histórica desde el cine mudo al presente, al examinar diferentes contextos y modos de producción, y al analizar diferentes tendencias estéticas. A la vez, se propone darles una introducción al análisis fílmico al familiarizarles con los términos especializados y con varias líneas críticas que han surgido del campo de los estudios fílmicos. Este trimestre nos enfocaremos en el documental y, más ampliamente, en el “impulso documental” el cual se hace evidente en películas que se suelen caracterizar como de ficción. -
Elena
Elena, a young Brazilian woman, moves to New York with the same dream as her mother: to become a movie actress. She leaves behind her childhood spent in hiding during the years of the military dictatorship. She also leaves Petra, her seven-year-old sister. Two decades later, Petra also becomes an actress and heads to New York. At first in search of her destiny, but increasingly, in search of Elena, Petra has only a few clues: home movies, newspaper clippings, a diary and some letters. Gradually, the features of the two sisters are confused; we no longer know one from the other. When Petra finally finds Elena in an unexpected place, she has to learn to let her go. ELENA is a film about the persistence of those memories, the irreversibility of that loss, and the impact the absence of her sister had on the seven-year old girl. (Film's Official Website) -
Empoderadas
Empoderadas é uma websérie que apresenta entrevistas com mulheres negras das mais diversas áreas, profissionais bem sucedidas que falam sobre suas trajetórias, sobre o mercado de trabalho e o racismo e o machismo que o envolvem. Cada capítulo nos apresenta uma personagem real e uma história única. Foram entrevistadas atrizes, artesãs, cantoras, professoras, dentre várias outras profissionais que conversam com a câmera e falam sobre negritude, gênero, suas vidas e suas lutas. (Arte Aberta) -
Equilíbrio
Curta metragem retratando a condição humana no planeta Terra. O discurso da Kaapora, uma entidade espiritual indígena, norteia a discussão crítica da relação destrutiva de nossa civilização com o único planeta conhecido que tem suporte para a vida, e do qual nós mesmos dependemos para continuar nossa existência enquanto espécie. (Yawar Films) -
Estamira
De sus 63 años, Estamira ha trabajado durante los últimos 20 en un depósito de basura. Frente al rechazo de la sociedad, ha recobrado su dignidad construyendo un discurso místico que ha dado un nuevo sentido a su vida. Esquizofrénica, pero carismática y maternal por naturaleza, sus amigos la consideran una auténtica líder. --- Documentary about Estamira, a 63-year-old woman who has been working for over 20 years at a landfill site in Rio de Janeiro. Schizophrenic, but very charismatic, she's the leader of a small community of old people living off garbage and has a very lyrical and philosophical attitude towards life. (Portal del cine y audiovisual Latinoamericano y caribeño) -
Estorvo
O pesadelo existencialista de um personagem anônimo que vaga por uma grande cidade de hoje. Depois de uma noite mal dormida, o protagonista acorda com a campainha da porta tocando insistentemente. Pelo olho mágico,vê um desconhecido de terno e gravata, barba e cabelos longos, que lhe lembra alguém que não consegue identificar. Não sabe por que aquele homem está ali nem o que pode querer, mas tem uma certeza imediata: ele representa uma ameaça para sua vida. Veste-se às pressas, aproveita uma distração do visitante e logra escapar. Mas não tem a menor dúvida de que o desconhecido se lançou no seu encalço e que o pesadelo apenas começou. E assim se inicia uma alucinante perseguição através da cidade. Acossado, desconfiado de tudo e de todos, afrontando a violência cotidiana, o seu próprio passado, os seus fantasmas, revê amigos que há muito não encontrava, tenta o contato com uma mãe muda e ausente, busca proteção da irmã com quem sempre manteve uma relação ambígua, procura apoio da ex-mulher e vai se envolvendo numa trama de suspense crescente com uma série de personagens extremados: uma ninfomaníaca, motoqueiros, marginais, plantadores de maconha, contrabandistas, policiais corruptos, gente à deriva... É uma fuga sem destino que penetra cada vez mais fundo no seu próprio mundo, traindo, roubando, se degradando, buscando descobrir o enigma da sua caminhada, compreendendo do que foge, quem o persegue, para onde vai. A resposta vem no fio de uma faca. (Cinemateca Brasileira) -
Familia rodante
A wedding invite from an estranged sibiling inspires a grandmother to assemble her family and embark on a roadtrip in a broken down caravan. (IMDB) -
Favela Gay
Favela Gay tells the story of eleven individuals in their own words. Living in eight slums (favelas) in Rio de Janeiro, these members of the LGBTQ community – two transgender women, a crossdressing man, a travesti (in South America, a person who was designated male at birth who has a feminine, transfeminine or femme gender identity) prostitute, a famous carnival dancer, two community activists, and even a young man who used to be transgender, but transitioned back – have fought prejudice and seen some of the most unsavoury sides of the city. (Sounds and Colours) -
Fôlego Vivo
The Kariri people, located in the Chapada do Araripe, a rural area in northeastern Brazil, reflect on water. The community tells of the Indigenous myth of recreating the world together with water as against the capitalist developmental myth of controlling water and human and non-human bodies inhabiting the San Francisco River. (Hemispheric Institute) -
Ganga bruta
A man kills his wife on their wedding night, after discovering she had been unfaithful. After being acquitted, he moves to the country, where he falls in love with an innocent girl. (IMDB) -
Ganga Zumba
Near the end of the 16th century, slaves working in northeastern Brazilian sugar cane mills conspire to escape to Quilombo dos Palmares, a haven for fugitive black slaves. Among the group is young Ganga Zumba (Antonio Pitanga), who rises to become head of the first revolutionary republic in the Americas. (Film at Lincoln Center) -
Hispanic Film
This course examines film by Spanish and Latin American directors. Students study films as an independent genre using specific structural forms as the means of analysis (close-up, soundtrack, frame, etc.). Students will formulate interpretations that move between the formal, technical composition of films and the concrete socio-historic and cultural reality to which each film refers and shapes. Course activities include screening of films, discussion of articles that focus on literary theory and film analysis, and writing short papers. -
Hispanic Film (*modified for remote learning, fall 2020)
In our Hispanic film course we examine diverse cinemas made in the region and how Latin American filmmakers represent, reject, reconstruct, maintain or challenge their realities. We look at how films are made, how they are funded, and how films reach audiences to question which films we see, and which ones are hidden from our view. The most accessible films available on major US platforms such as Netflix and Hulu do not begin to represent the diversity of world cinema, nor that of even US cinema.
In this course we examine works from the region to see how artists use cinema to challenge, break with, or redefine their realities sharing complexities beyond the limited roles of Latin Americans in Hollywood film. In these examples of more nuanced representations of Latin Americans, we see the crucial importance of self-representation, and diversity in front of and behind the camera.
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Indigenous & Afro-descendant Representation in Contemporary Latin American Film
This course serves as an introduction to film analysis by studying Latin American cinema, with a focus on Afro-descendant and indigenous communities. We will analyze the representation of indigenous people in contemporary Latin American cinema, and highlight the contributions of indigenous media to current discussions about indigeneity and decolonization. In addition, we will examine the cinematic representa-tion of Afro-Latin Americans and explore the cultural legacy of the African diaspora through Latin American film. The course will highlight important social and political issues concerning historically marginalized voices in Latin America, as well as how cinematography, as an artistic medium, grapples with questions of representation, identity, memory, and activism. Movies will be screened in Spanish (in some cases, Portuguese and indigenous languages, with Spanish subtitles). Class conducted in Spanish.
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Integração racial
Uma visão abrangente da situação dos diferentes grupos étnicos existentes no Brasil. Nos depoimentos, recolhidos nas ruas e bairros de diversas capitais, negros, brancos, mulatos, portugueses, italianos e japoneses manifestam sua opinião e descrevem experiências pessoais, envolvendo o relacionamento, o racismo, a miscigenação e o intercâmbio cultural. (Cinemateca Brasileira)Tags Cinema Nôvo -
Introducción al cine argentino y brasileiro
Este curso es una introducción al análisis fílmico con relación al cine argentino y brasileiro. Les familiarizará con las herramientas del análisis textual, algunos de los planteamientos críticos-teóricos más influyentes dentro del campo de cine (por ej. cómo funcionan los géneros, qué es un auteur, qué es un cine político) y, de allí, algunos de los métodos de análisis propios a ese campo. Mientras tanto, les dará una visión panorámica del cine latinoamericano al explorar películas de diferentes épocas (es decir, el cine ‘mudo’; el 'viejo' cine de los 30s-50s; el Nuevo Cine Latinoamericano de los 1960s-70s; y el cine contemporáneo). -
Introduction to Spanish-Language Film
This course is an introduction to appreciating and understanding film art as it relates to the rich and diverse cinema history of Latin America. Conducted entirely in Spanish, the course focuses on students’ acquisition of knowledge on the material and principles of film form, or the basic elements of film narrative, mise-en-scène, editing, and sound. Students will be asked to put their new knowledge into practice by watching closely and analyzing major films produced across the Latin American regions in the 20th and 21st centuries, from Argentina to Chile to Bolivia to Chile to Brazil to Cuba to Mexico. A variety of film genres will be enjoyed, including the documentary, the musical, the comedy, the thriller, the coming-of-age movie and the road film. The “New Latin American Cinema” or the socially-engaged film of the 1960s and 1970s will also receive attention in the course. In addition to studying film as an art form we will also tackle prominent issues in contemporary film studies, including film theory, the history of audiences and the role of cinema as a form of mass media. -
Jean Charles
Inspirado no assassinato do brasileiro Jean Charles de Menezes pela polícia inglesa, em 2005, o filme reconstrói os últimos meses da vida do eletricista mineiro em Londres (Cinemateca Brasileira) -
Jennifer
Jennifer follows the ways in which a Black female high school student navigates the relationships and insecurities of teenage life. Jennifer wrestles with self-understandings of her own beauty, her relationships with classmates and friends, and developing skills to become employable. Ultimately she seeks independence through work and develops a strong sense of herself as an individual with enough agency to make her way in life. (Gillam, Reighan. Visualizing Black Lives: Ownership and Control in Afro-Brazilian Media. U of Illinois P, p. 86) -
Jogo de cena
"Mulheres desconhecidas e atrizes famosas se revezam em depoimentos pessoais num jogo onde o espectador nunca sabe quem está representando." (Cinemateca Brasileira) -- Following a newspaper ad, ordinary women tell part of their life stories to director Eduardo Coutinho, which are then re-enacted by actresses, blurring the barriers between truth, fiction and interpretation. (IMDB) -
Kbela
Hair is an important marker of black female identity. Many films have been made about 'nappy' hair, but this debut by Yasmin Thayná is among the best. This powerful visual essay is a form of resistance to invisibility and an audiovisual experience about being and becoming a black woman. (International Film Festival Rotterdam) -
Kinja Iakaha
In A Day in the Village, Waimiri and Atroari filmmakers document the day-to-day life of their relatives in the Cacau village, located in the Amazon region. We watch as women prepare the midday meal and do laundry in the river. Men hunt for alligators, paca and tapir in the forest as well as make handcrafts during a rainstorm. Children play and help with chores such as fruit-gathering and fishing, with adults showing them the right way to do things. Through intimate, interwoven images, the video gives us a vivid sense of the daily pattern in this village. (Documentary Educational Resources) -
Konãgxeka: ou dilúvio Maxakali
Konãgxeka in the indigenous language maxakali means "big water". It is the maxakali version of the flood story. As a punishment, because of the selfishness and greed of men, yãmîy spirits send the "great water". It is an indigenous film. One of the directors is a representative of the indigenous people Maxakali, from Minas Gerais. Maxakali language spoken film, with subtitles. The film's script is the diluvian myth of the Maxakali people. The illustrations for the film were made by indigenous Maxakali, during a workshop held in the Green Village Maxakali, in the municipality of Ladainha, Minas Gerais. (Porta Curtas) -
La terra degli uomini rossi
Cuando una tribu de guaraníes indígenas intenta volver a habitar su tierra ancestral, que se encuentra en la frontera de los campos de un rico terrateniente, aumentan las tensiones. (Translation by Liam Lewis) -
Latin America in the Film Festival Circuit
The course will look at Latin American cinema (mostly contemporary films), and the associated ideas about the region, that circulate in the film festival circuit. Understanding the latter as a complex and dynamic phenomenon, the study of which has been tackled from a wide range of multidisciplinary approaches (from socio-economics to film studies, from anthropology to global studies), special attention will be paid to the political economies at stake in these transnational networks and their impact in terms of film distribution, exhibition and, perhaps more importantly, film production. -
Latin America through Cinema
In this course, we will explore cinema from and about Latin America to expand our understanding of this culturally diverse region comprised of more than twenty countries and territories. We will examine topics such as gender, humor, history, globalization, politics, memory, and religion through the lens of films by Latin American screenwriters and directors. Students will gain experience in film analysis, learning how to articulate the relationship between content and artistic form. Through this cinematographic encounter, we will begin to see and understand Latin America in a new way. -
Latin America through Cinema (*modified for remote learning, fall 2020)
In this course, we will explore cinema from and about Latin America to expand our understanding of this culturally diverse region comprised of more than twenty countries and territories. We will examine topics such as gender, humor, history, globalization, politics, memory, and religion through the lens of films by Latin American screenwriters and directors. Students will gain experience in film analysis, learning how to articulate the relationship between content and artistic form. Through this cinematographic encounter, we will begin to see and understand Latin America in a new way. -
Latin American Cinema
In this course we will explore how Latin Americans have represented themselves on the big screen, through close readings of representative films from each of the following major periods:- silent cinema (1890s-1930s),
- studio cinema (1930s-1950s),
- Neorealism/Art Cinema (1950s),
- the New Latin American Cinema (1960s-1980s), and
- contemporary cinema (1990s to today)
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Latin American Cinema: 1930 to the Present
This course is a survey of Latin American cinema that spans from the 1930s to the present. Topics will include Mexican Golden Age cinema as well as the New Latin American Cinema of the 1960s and 1970s and contemporary new new waves. The course will examine key films in the history of Latin American cinema including María Candelaría (Emilio Fernandez, 1944), Memories of Underdevelopment (Tomás Gutiérrez Alea, Cuba,1968), and The Jackal of Nahueltoro (Miguel Littín, 1969) as well as accomplished contemporary productions such as Edifício Master (Eduardo Coutinho, 2002) and Neighboring Sounds (Kleber Mendonça Filho, 2012). The course will put these films in dialogue with key debates within Latin American cultural studies including debates around national culture, national identity, aesthetics and politics, and underdevelopment. In many cases, we will compare filmic treatments of these questions from different countries and from different time periods. -
Latin American Documentary
This course will investigate Latin American documentary by focusing on three important topics in Latin American cultural studies. We will screen recent and historical documentaries about (1) underdevelopment and poverty, (2) the history and memory of the Southern Cone military dictatorships, and (3) popular culture and folklore. These three topics will provide material for an investigation of documentary form. With respect to each topic, we will consider how the resources of documentary filmmaking are employed to frame the same subject matter in different ways. -
Latin American Film & Television Studies
This course is an introduction to Latin American film and television studies. It is conducted in Spanish and is open to graduate students and advanced undergraduates with the permission of the instructor. Students will acquire knowledge on contemporary trends in film and television studies, including film theory, the archival turn, and ethnographies of television reception, as they relate to the film and television cultures of the rich and diverse regions of Latin America. The course’s historical purview takes students from classical narratives of the 1930s and 40s to revolutionary cinema of the 1960s and 70s to melorealism and the telenovela of the contemporary period. -
Latin American Women Writers and Filmmakers
This course will provide students an introduction to the critical analysis of film and literature in Latin America (including Brazil) with a specific focus, particularly at the end of the course, on post-dictatorship film and literature from Argentina, Chile, and Brazil. This course is designed to give students an introduction of literary and filmic analysis at an advanced level as a means of building their speaking, reading, critical thinking, and writing skills in Spanish and English. -
Limite
Em um pequeno barco a deriva, um homem e duas mulheres contam histórias de uma vida marcada por desventuras, tristezas, angústias e monotonia. As imagens e as histórias ensaiam uma fuga metafórica, que justifica o conformismo dos personagens diante da degradação humana. (Cinemateca Brasileira) -
Los territorios
A lo largo de LOS TERRITORIOS, “Iván” (las comillas están puestas ya que mucho de lo que aquí se cuenta con estilo documental debería ser tomado con pinzas, algo que la película jamás oculta) viaja de Bolivia a Brasil, de París post ataque a Charlie Hebdo al País Vasco, de la isla de Lesbos en Grecia a la que llegan a diario miles de refugiados de Medio Oriente a las conflictivas fronteras entre Israel y Gaza e Israel y Cisjordania. Si bien la película corre el riesgo de ser un tanto episódica en su imposibilidad de profundizar en cada uno de los conflictos, el patrón parece ser el mismo: hay una línea de fuego, una pared, un límite y una división en cada uno de sus escenarios. Conocerlos, enfrentarlos y atravesarlos es el gran desafío. Una frontera que es tan política y social como personal y, si se me permite, hasta “terapéutica”. Iván cuenta todas estas desventuras en plan diario personal, con una voz en off que va marcando sus pequeños avances y, más que nada, fracasos, a la hora de convertirse en un reportero en zonas de conflicto (y hasta como periodista deportivo). Una parte importante del filme está dedicada a las conversaciones con su padre, alguien que ha cubierto ese tipo de escenarios durante toda su carrera, pero nunca ha estado en un frente de batalla más que en el Copamiento del Cuartel de La Tablada, en 1989. En su recorrido por ese lugar, en sus conversaciones en la casa o en el auto, en los emails que se envían (y que aparecen en pantalla, como los de la madre, en plan más humorístico de idische mame) la película encuentra el eje que engloba los distintos episodios. Los viajes por esos “territorios en conflicto” no son otra cosa que una manera que acercarse y entender a su padre y, a la vez, encontrar su propio “territorio” en esa saga familiar. (Micropsia) -
Macunaíma
No fundo da mata virgem nasce Macunaíma. Nasce diferente, a mãe acocorada deixando cair o feto preto, de cabeça. Corre em selvagem alucinação pela mata, de preto virando branco, e depois deixando o sertão em troca da cidade na companhia dos dois irmãos, Jiguê e Maanape. Na cidade, estranha e hostil, segue o mesmo caminho zombeteiro, conhecendo e amando a guerrilheira Ci e inúmeras outras mulheres, enfrentando o vilão milionário Venceslau Pietro Pietra, na busca de reconquistar a pedra mágica que herdara de Cy, a muirakitã. Depois de tumultuada aventura urbana, consegue reaver a muirakitã e deixa o caos da cidade, voltando para a selva cheio de quinquilharia citadina. Mas sua disposição em ser ladino não se adapta mais ao ambiente e, por isso, é abandonado por seus irmãos. Sozinho e faminto, mas sem disposição para caçar, Macunaíma relata suas aventuras para um papagaio até o dia em que uma súbita vontade de brincar o faz cair nos braços da Iara. (Cinemateca Brasileira) -
Madame Satã
Bandit, lover, rebel, homosexual, marginalized, and adoptive father, João Francisco dos Santos, reigned in the streets of Lapa, Carioca, during the 30's, where he invented his own mythology in which he turned himself into 'Madame Satã', a name he borrowed from the movie Homônimo by Cecil B. De Mille made in the 1930's. The story takes place in 1932, the moment when João's dream of becoming a famous performer becomes a reality. (Translation by Jessica Batista) -
Mãe só há uma
A vida do adolescente Pierre vira de cabeça pra baixo quando ele recebe uma denúncia e é obrigado a fazer um teste de DNA. Após o resultado, descobre que a mulher que o criou não é sua mãe biológica, e sim uma estranha que o roubou na maternidade. Assim, ele é obrigado a trocar de família, de nome, de casa, de escola. No meio desse processo, talvez acabe trocando também até de gênero. (Papodecinema)Tags Youth / La juventud -
Marighella
Beginning with a breathless, Robin Hood-style train robbery and ending with a highly provocative—and not for the faint of heart—final sequence, the directing debut from journalist, musician, and actor Wagner Moura (Elite Squad; Pablo Escobar in Narcos) is a searing and energized portrait of one of Brazil’s most divisive historical figures, Afro-Brazilian poet and politician Carlos Marighella (actor/singer Seu Jorge, The Life Aquatic With Steve Zissou). Driven to fight against the erosion of civil and human rights following the CIA-backed military coup of 1964 and the brutal right-wing dictatorship that followed, the revolutionary leaves behind his wife, Clara (Adriana Esteves), and son, Carlinhos, to take to the streets, authoring the highly influential Minimanual of the Urban Guerrilla,becoming a notorious enemy to the power structure, and being doggedly pursued by sadistic chief inspector Lucio (Bruno Gagliasso) before an untimely death in a dramatic police ambush in 1969. (Review by Hebe Tabachnik, Seattle International Film Festival, Film's Official Website) -
Martírio
Filmed over the course of 40 years, indigenous expert and filmmaker Vincent Carelli seeks out the origins of the Guaraní Kaiowá genocide. A conflict of disproportionate forces: the peaceful and obstinate insurgency of the dispossessed Guaraní Kaiowá against the powerful apparatus of agribusiness. While fighting against the Brazilian Congress in order not to be evicted from their homes, the 50.000 indigenous people demand the demarcation of the space that belongs to them. With rigorous investigative work, this Brazilian director recorded the birthplace of the resistance movement in the 1980s and tells, with his own voice and those of the indigenous people, of the social and political injustices suffered. The stunning archival historical images, new footage, both color and black and white, hearings in Brazilian Congress, and even interviews with those opposed to the Guaraní Kaiowá’s rights, reveal the crudeness with which they coexist every day: among the violation of their civil rights and the fortitude with which they confront the usurpers. This epic documentary has become a sensation in Brazil and the ultimate testimony that unifies these unheard voices by “ethnocide actions,” the cruel synthesis of a conflict without a foreseen solution in the near future. (Pragda) -
Mãtãnãg, a Encantada
Based on a traditional myth of the Maxakali people, directed by Shawara Maxakali and Charles Bicalho, the film follows Mãtãnãg, who upon seeing her husband die from a snake bite, decides to follow him, thus commencing her journey towards the village of the spirits. In this animation film, the boundary between the world of the dead and the world of the living gains other possible meanings. (Olhar de Cinema Festial Internacional de Curitiba) -
Menino 23 - Infâncias Perdidas no Brasil
The Forgotten Boys of Brazil follows the research of historian Sidney Aguilar, beginning with the discovery of bricks marked with Nazi swastikas on a farm in the countryside of São Paulo. The documentary reveals something really frightening: during the 1930s, fifty black boys were taken from an orphanage in Rio de Janeiro and led to the farm where the bricks had been found. There, the boys were identified by numbers and subjected to slave labor by a family that was part of the political, military, and economic elite of the country. This family did not hide their affinity for the Nazi ideology.
At the time, Brazil had the largest German population-with 100,000 German-born people and a community of 1 million people of German descent. 2,822 were members of the Nazi Party. Such context helped Brazil become a safe haven for Nazi war criminals after WWII when 20,000 Germans settled there. The most notorious fugitive to settle in Brazil was Dr. Josef Mengele.
Two survivors from this Brazilian tragedy, Aloísio Silva (the “boy 23”) and Argemiro Santos, as well as the family of José Alves de Almeida (known as ‘Two’), reveal their stories for the first time. (Pragda)
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Migrations and Immigrations
To learn about the main events and historical characters that have forged the development and the evolution of the Latin-American culture(s) , arts and literature from Pre-Columbian times to the present. To address social-cultural and political issues derived from the tutelage of the Spanish Empire. -
Movimento
Tereza, nascida na pandemia do Coronavírus em 2020, é cuidada por seus pais Rimenna e Gabriel. (Tamanduá.tv) -
Mulheres Negras
Despite official jargon to the contrary, Brazilians live in a racially segregated class system. This upbeat, sensitive and elegantly composed documentary, produced by Lilith Video Collective, looks at the ways Black women have coped with racism while validating their lives through their own music and religion. (Women Make Movies) -
Nada
Bia (played by the rapper Clara Lima) is confronted with a question in school: what do you want to do after you finish high school? Her answer is strong enough to lend the film its title: nothing. The young rapper, therefore, more than fits David Bordwell’s description of the protagonist of the art film as a drifting character who lacks a clear goal; in fact, she enacts it: she desires nothing but the open-ended journey, the suspenseful ambiguity of the art film, the journey that is more important than its destination. (Source: https://wp.nyu.edu/fabioandrade/2018/11/26/nothing-nada-2017-gabriel-martins) -
New York, petei tetã ve rive
Patrícia Ferreira es una joven líder y cineasta Guaraní Mbya reconocida por los documentales que ha estado realizando con su pueblo. Ha presentado su trabajo en uno de los festivales de cine etnográfico más grandes del mundo, el Margaret Mead Film Festival, celebrado en el Museo Americano de Historia Natural de Nueva York. En ese lugar, Patricia se encuentra con algunas exposiciones, debates y actitudes que la hacen pensar en el mundo del pueblo “juruá”, contrastándolo con los modos de existencia de los guaraníes. (Mother Tongue Film Festival) -
O Ano em Que Meus Pais Saíram de Férias
Em 1970, o Brasil e o mundo parecem estar de cabeça para baixo, enfrentando inúmeras crises políticas. Mas a maior preocupação na vida de Mauro, um garoto mineiro de classe média, de 12 anos e apaixonado por futebol e por jogo de botão, tem pouco a ver com a ditadura militar que domina o país. Seu maior desejo é ver o Brasil tricampeão mundial de futebol. Subitamente, ele se vê separado dos pais, que 'saem de férias'. Mauro vai morar na casa do avô que pouco conhece e é obrigado a se adaptar a uma estranha e divertida comunidade: o Bom Retiro, bairro de São Paulo que abriga judeus e italianos, entre outras culturas. (Cinemateca Brasileira) -
O Ano en que Meus Pais Saíram de Ferias
Em 1970, o Brasil e o mundo parecem estar de cabeça para baixo, enfrentando inúmeras crises políticas. Mas a maior preocupação na vida de Mauro, um garoto mineiro de classe média, de 12 anos e apaixonado por futebol e por jogo de botão, tem pouco a ver com a ditadura militar que domina o país. Seu maior desejo é ver o Brasil tricampeão mundial de futebol. Subitamente, ele se vê separado dos pais, que 'saem de férias'. Mauro vai morar na casa do avô que pouco conhece e é obrigado a se adaptar a uma estranha e divertida comunidade: o Bom Retiro, bairro de São Paulo que abriga judeus e italianos, entre outras culturas. (Cinemateca Brasileña) -
O Cangaceiro
The cangaceiro Galdino and his band spread terror throughout the northeastern caatinga. With the intention of asking for a high ransom, Galdino kidnaps Professor Olivia during a group robbery in a small village. Theodore, lieutenant of Captain Galdino, falls in love with Olivia, a feeling promptly reciprocated. Driven by his love, he decides to free Olivia. Helped by a cangaceiro of the group, Teodoro puts his escape plan into action. Furious with his comrade's betrayal, Galdino tortures the cangaceiro who helped the fugitives and puts the whole group on the hunt for them. While enjoying their freedom, Theodore and Olivia are discovered by a cangaceiro sent by Galdino. Theodore understands that the band must be around, and he tells Olivia to go alone and take the path that will lead her back to the village where she lives. (Translation by Jessica Batista) -
O contador de histórias
Anos 70. Aos 6 anos Roberto Carlos Ramos (Marco Ribeiro) foi escolhido por sua mãe (Jú Colombo) para ser interno em uma instituição oficial que, segundo apregoava a propaganda, visava a formação de crianças em médicos, advogados e engenheiros. Entretanto a realidade era bem diferente, o que fez com que Roberto aprendesse as regras de sobrevivência no local. Pouco depois de completar 7 anos ele é transferido, passando a conviver com crianças até 14 anos. Aos 13 anos, ainda analfabeto, Roberto tem contato com as drogas e já acumula mais de 100 tentativas de fuga. Considerado irrecuperável por muitos, Roberto recebe a visita da psicóloga francesa Margherit Duvas (Maria de Medeiros). Tratando-o com respeito, ela inicia o processo de recuperação e aprendizagem de Roberto. (Adoro Cinema Brasil)