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Ricardo Alves Jr. | 2013 | O.V. Portuguese | S.T. English | Brazil | 14min | color

Synopsis :

In 1990, Fernando Collor de Mello, the first elected president after 20 years of military dictatorship, closed all government agencies dedicated to film production and distribution, causing one of the worst crises in the history of Brazilian cinema. After a series of corruption scandals forced Collor to resign in 1992, the country started rebuilding its democracy, little by little and not without turmoil. Likewise, Brazilian cinema started rebuilding — also not without turmoil. Government policies were mainly geared toward strengthening Brazilian film’s market share by supporting mainstream production, already well funded by the powerful Brazilian Tv industry, mainly concentrated in Rio de Janeiro and São paulo. At the same time, however, a new kind of cinema started to emerge from the margins of that system. Films in which production and aesthetic values were intrinsically linked and which were almost always made possible by collaborative, non-official means. Lots of interesting, challenging movies started to appear “from nowhere.” New talents were revealed in a proliferation of short films, which still today represent the most creative side of Brazilian cinema. Most of them came from regions other than Rio and São Paulo (especially Pernambuco, Ceará and Minas Gerais), proving that the “center” and the “margins” were not geographical issues but mainly aesthetic, even philosophical ones. The films showcased here are a good example of the power of this new Brazilian cinema, so far away from the suffocating, utopian Cinema novo of the ’60s but also very distant from the comedies and melodramas that define today’s new mainstream Brazilian movies. These are works of extremely personal expression, all highly contem- porary but also willing to dialogue with Brazilian history and traditions.— Pedro Butcher