Directors

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Born in 1906 in Sisak, Croacia. He started his career in Austria, creating Yugoslav versions for German and Austrian films. In the 1930’s, he worked in studios in Vienna and Berlin. With the end of World War II, after losing his entire family, he decided to immigrate to Brazil. He first worked at Cinelândia Filmes. In 1955, he started working for Herbert Richers, having directed 18 films; mostly comedies with actors such as Grande Otelo and Ronald Golias. He has directed 11 films with Aragão’s comedy group Os Trapalhões, such as O Trapalhão nas Minas do Rei Salomão (1977) and Os Saltimbancos Trapalhões (1981). He ventured into many genres, such as the erotic drama As Borboletas Também Amam (1979). At the age of 81, he directed his last film: Os Fantasmas Trapalhões (1987). He died in 1993, at the age of 87.

Filmes já exibidos na Mostra:

Jack Youngelson - Writer and producer of documentaries presented on TV broadcasters in the U.S. and in the U.K., such as HBO, Bravo, the BBC, and Channel Four. In the last four years, he contributed to Moxie Firecracker Films with three documentaries. In 2002, he wrote and co-produced The Nazi Officer’s Wife, a documentary directed by Liz Garbus and that was part of the selection for the 27th Mostra. Together with director Rory Kennedy, he wrote and produced Indian Point: Imagining the Unimaginable (2004) and Ten Days That Unexpectedly Changed America: The Homestead Strike (2006). Peter Sutherland - Born in Ann Arbor, Michigan, in the U.S. His first documentary as director, Pedal (2002), was already presented on the Sundance Channel. He was photography director for Stoked: The Rise and Fall of Gator, awarded prizes at the 2003 Sundance Film Festival, among other work for TV. In 2004, he published his first book of photographs, Autograf: New York City`s Graffiti Writers.

Filmes já exibidos na Mostra:

Born in Minaeh, Iran, in 1960. He studied film and TV directing in Tehran. He was Abbas Kiarostami’s assistant director in Under the Olive Trees, winner of the Critic’s Prize at the 18th Mostra). The White Balloon (1995, 19th Mostra), his first feature film as a director, was awarded with the Golden Camera at the Cannes Film Festival. He has also directed titles such as The Mirror (1997, 22nd Mostra, in which he was also member of the International Jury), The Circle (2000, 24th Mostra), winner of the Golden Lion at the Venice Film Festival, Crimson Gold (2003, 28th Mostra), winner of the Silver Bear at the Berlin International Film Festival. In 2010, he was convicted to six years in prison and was forbidden to film or leave Iran for two decades under the accusation of doing advertising against Iranian government. One year later, Panahi directed This Is Not a Film, shown at the 35th Mostra and awarded with the Silver Bear for best screenplay at the Berlinale. He also signed the direction of Closed Curtain (2013, 37th Mostra), Taxi Tehran (2015), best film at Berlinale and 3 Faces (2018). The filmmaker was honored with Humanity Award at 42nd Mostra, in 2018.

Filmes já exibidos na Mostra:

ISABEL COIXET Nasceu em Barcelona, Espanha, em 1960. Estreou em 1984 com o curta Mira y Verás, que integrou a seleção da 9ª Mostra. Participou também do filme coletivo Paris Te Amo, selecionado para a 30ª Mostra. A Vida Secreta das Palavras conquistou o prêmio Lina Mangiacapre no Festival de Veneza 2005 e ganhou quatro prêmios Goya 2006, foi selecionado para a 30ª Mostra. Invisíveis foi exibido na 31ª Mostra. WIM WENDERS Nasceu em 1945, na Alemanha. Participou de várias Mostras: O Amigo Americano (3ª Mostra), Hammett e O Estado das Coisas (8ª Mostra), Tokyo-Ga (10ª Mostra e 27ª Mostra), Asas do Desejo, vencedor do Prêmio do Público na 12ª Mostra e Paris, Texas (13ª Mostra). Dirigiu, ainda, O Filme de Nick (15ª Mostra), Até o Fim do Mundo (16ª Mostra) e Ode a Colônia (26ª Mostra), além de dois segmentos de projetos coletivos: A Alma de um Homem (parte da série The Blues) – vencedor do Prêmio de Público da Mostra – e um dos episódios de Dez Minutos Mais Velho – o Cello, ambos na programação da 27ª Mostra. A 28ª Mostra exibiu Terra da Fartura e Estrela Solitária esteve na 29ª Mostra. FERNANDO LEÓN DE ARANOA Nasceu em Madri, em 1968. Esteve na Mostra com Família (22ª Mostra) e Segunda-Feira ao Sol (27ª Mostra). Princesas participou da 30ª Mostra. MARIANO BARROSO Nasceu em Barcelona, em 1959. Aos 28 anos, mudou-se para Los Angeles, onde estudou no Instituto Americano de Cinema. Dirigiu telefilmes e filmes para cinema como Ecstasy (1996), Kasbah (2000) e Ants in the Mouth (2005). Suas premiações incluem os festivais de Toulouse, Berlim e Londres, além dos prêmios Goya, Círculo da Crítica de Nova York e Luis Buñuel. JAVIER CORCUERA Estudou Cinema no Peru e Ciências Visuais na Universidade Complutense de Madri. Fez curtas e longas, a maioria documentário. Suas premiações incluem Prêmio da Crítica no Festival de San Sebastián e Prêmio do Festival de Cinema de Havana. É co-diretor do Festival Internacional de Cinema do Saara. CARTA BRANCA A WIM WENDERS - PRÊMIO HUMANIDADE 2008 Wim Wenders tem carta branca da Mostra Internacional de Cinema para programar o que quiser. Ele é um dos autores mais presente ao longo das edições da Mostra e da nossa história de cinéfilos. Sempre corajoso em manifestar as suas inquietudes frente a um mundo com signos enganadores de modernidade, Wenders manifesta seu inconformismo com perturbadora sagacidade, presença de espírito, inovação e constante busca de fórmulas inovadoras de expressão. Mutante e suficientemente corajoso, nunca escondeu o seu fascínio pela cultura popular americana e seus ícones que povoam o nosso imaginário. Fascínio confesso com crítica, não deslumbramento que nos enche de coragem, nos livra da culpa da estagnação e convoca a viagens e releituras. E nos enche os olhos e a mente com poesia e musicalidade, nostalgia e modernidade, olhando para o passado e para o futuro com a certeza de quem conclama mudanças no presente. Aproveita a fama rapidamente criada como talento emergente numa Alemanha paranóica com o seu próprio futuro, mesmo como expoente do movimento Novo Cinema Alemão, parte para os Estados Unidos a fim de render uma série de homenagens a vários de seus ídolos. Uma ao ator e diretor Dennis Hopper, com O Amigo Americano (Der Amerikanische Freund, 1977), outra aos diretores Nicholas Ray e Samuel Fuller, os três atuando nesse mesmo filme. Reinventa a sua modernidade com um filme neo-noir e envolve-nos ao mesmo tempo com a admiração pela novelista Patricia Highsmith, seu inspirado personagem Tom Ripley, e ainda presta homenagem indireta a Alfred Hitchcock que a adaptou no cinema com Pacto Sinistro (Strangers on a Train, 1950). A sinceridade de Wim Wenders é estimulante. A sua peregrinação americana prossegue surpreendendo. Os seus filmes envolvem espectadores com personagens e roteiros que são capazes de levar o martírio de um cinéfilo às últimas conseqüências. Retorno a Nicholas Ray, o mítico diretor de Johnny Guitar (1954) e Juventude Transviada (Rebel Without a Cause, 1955) e roda com ele O Filme de Nick (Lightning Over Water, 1980), para registrar a sua morte lenta e real. A inventividade de Wim Wenders permitia-nos escapes excitantes, mesmo provocando conflitos com ícones admirados em comum. Foi o caso na fascinante homenagem ao escritor de novelas policiais Dashiel Hammett, a alma do film noir, a um custo caríssimo. Hammett, de 1982, também foi rodado nos Estados Unidos e gerou conflitos com o produtor que tanto admiramos como cineasta - Francis Ford Coppola. Entre as tumultuadas filmagens e interrupções, volta à Europa para rodar O Estado das Coisas (The State of Things), em 1982. Sem que pudesse imaginar, esse filme se tornaria um símbolo de resistência contra a ditadura militar brasileira, depois de ganhar o Leão de Ouro no Festival de Veneza. No dia 20 de outubro de 1984, com mais de mil pessoas lotando a sessão de O Estado das Coisas no Cine Metrópole, cinema infelizmente desaparecido, chegam os agentes da Polícia Federal com uma ordem para interromper a 8ª Mostra Internacional de Cinema. Em O Estado das Coisas, uma equipe de cinema está em Portugal motivada pela própria autobiografia de Wenders, com as dificuldades de um cineasta em realizar o seu filme sem conseguir se livrar da opressão do produtor. Tudo começou um mês antes da 8ª Mostra ser inaugurada, quando partimos ao desafio ao governo em seu último ano de ditadura, processar a União e obtendo vitória judicial para poder, pela primeira vez em oito anos de existência, fazer um festival sem submeter a seleção dos filmes à censura prévia. A Mostra reagia por todos esses anos de humilhação. Uma semana depois, o governo federal cassaria a liminar e interromperia a Mostra para o espanto de todo o mundo. E justamente no curso da projeção de O Estado das Coisas... Li com voz embargada e lágrima nos olhos, diante de uma platéia espantada, a decisão judicial de acabar com a Mostra livre censura. Enquanto isso, no auge da criação, Wim Wenders se refaria do impacto do filme americano anterior, ganhando a Palma de Ouro em Cannes de 1984 com Paris, Texas. Impecável modernidade com roteiro de Sam Shepard sobre buscas e perdições, interpretações de Harry Dean Stanton e Natassja Kinski e música de Ry Cooder. O admirável cineasta-cinéfilo leva-nos ao Japão pouco depois com o diário-documentário Tokyo-Ga, em forma de peregrinação e reverência ao grande mestre Yasujiro Ozu. Foi Wenders quem abriu em 1985 os olhos de novas gerações ao cinema do grande mestre japonês. Observamos na obra de Wim Wenders a sua capacidade de despojamento, sempre se fazendo parecer muito menor diante dos ícones de sua (nossa) formação cultural. Com ele aprendemos sobre o grande poder motriz da humildade. Ao percorrer cenários japoneses e seus rituais tão bizarros quanto fascinantes, Wenders comporta-se com a disciplina de um pupilo e faz notar o quanto japonês e universal é o inestimável legado cinematográfico de Ozu. A admiração por Wim Wenders foi crescendo a cada revelação e a cada surpresa de seus filmes. O mais emocionante de todos dessa fase foi certamente a sua antecipada demolição do Muro de Berlim com Asas do Desejo (Wings of Desire, 1987). Anjos singelos atrevem-se a ignorar a existência do abominável muro e a sobrevoam indiferentes às fronteiras, atrás das almas que devem guardar. Asas do Desejo foi, merecidamente, o Prêmio do Público da 12ª Mostra, em 1987, e inseriu-se imediatamente na galeria dos seus filmes para sempre cultuados. Inesquecíveis ainda os anjos enxergarem em preto e branco e só verem as cores ao virar mortais pelo ‘pecado’ de se apaixonar por seres vivos... É notável também o igualmente surpreendente talento e a generosidade de Wim Wenders em prestigiar talentos musicais para agregar valores em seus filmes. “Minha vida foi salva pelo Rock’n Roll. Porque foi esse tipo de música que, pela primeira vez na minha vida, me deu um sentimento de identidade, o sentimento de que eu tinha o direito de aproveitar, imaginar e fazer alguma coisa”, revela Wenders em seu sítio oficial www.wim-wenders.com. A galeria de músicos convidados para os seus filmes é imensa - Ry Cooder, Daniel Lanois, Willie Nelson, U2, Bono, Nick Cave, BAP, Wolfgang Niedecken, Ronnee Blakley e Lou Reed, além de conseguir o feito mundial de resgatar talentos em grupo como em Buena Vista Social Club, de 1998. Com esse documentário musical Wenders deu uma extraordinária sobrevida a um grupo extraordinariamente talentoso de músicos cubanos. Ou como fez ao resgatar a história de três bluesmen marcantes - Blind Willie Johnson (1902-1947), Skip James (1902-1969) e J.B. Lenoir (1929-1967), em A Alma de um Homem (The Soul of a Man, 2003), seu longa dentro da série Blues, e que novamente venceu o Prêmio do Público, na 27ª Mostra. Wim Wenders justifica a escolha dos três bluesmen por identificar neles características comuns: “estavam à frente de seu tempo, escreveram suas próprias músicas, eram cantores e instrumentistas completos e morreram desconhecidos e esquecidos”. Bastava isto para atribuir o Prêmio Humanidade da 32ª Mostra Internacional de Cinema a Wim Wenders. Ele enriquece com seus gestos e filmes a galeria dos indicados anteriores ao Prêmio Humanidade da Mostra, que foram Manoel de Oliveira, Eduardo Coutinho e Amos Gitai. E, portanto, atenção aos filmes escolhidos por Wim Wenders com carta branca. Finalmente a Mostra vê em cores o seu anjo da guarda. Leon Cakoff

Filmes já exibidos na Mostra:

Born in Montreal, Canada, in 1963. He studied cinema and directed his first film in 1992 - a short film, Stéréotypes. He also directed two other short films, Les Fleurs Magiques (1995) and Les Mots Magiques (1998), both awarded prizes in different festivals. His first feature, a drama, Liste Noire, is from 1995. He also directed a western, Los Locos (1997) and a thriller, Loser Love (1999). C.R.A.Z.Y. was judged the best Canadian film at the Toronto Film Festival, was awarded the special prize from a young jury at the Gijón Film Festival and shared the Prize from the Public at the AFI (American Film Institute) Fest, all of these in 2005. The film was also awarded ten out of the twelve 2006 Genie Prizes (the Canadian Oscar) for which it was indicated: for film, directing, actor (Michel Côté), supporting actress (Danielle Proulx), original script, editing, sound, sound editing, art directing, and costume design.

Filmes já exibidos na Mostra:

Belgians, Jean-Pierre was born in 1951 in the city of Engis, while Luc was born in 1954 in Awirs. The brothers did together numerous documentaries between the 1970s and 1980s before starting to make fiction features. They gained notoriety with The Promisse (1996). In 1999, signed the direction of Rosetta, winner of the Golden Palm at the Cannes Film Festival. They also directed movies such as The Son (2002, 26th Mostra; The Child (2005, 29th Mostra), also winner of the Golden Palm; a segment of To Each His Own Cinema (2007, 31st Mostra); Lornas’s Silence (2008, 32nd Mostra); The Kid with a Bike (2011), opening title of the 35th Mostra and winner of the Grand Prize of the Jury in Cannes; Two Days, One Night (2014, 38th Mostra) and The Unknown Girl (2016, 40th Mostra).

Filmes já exibidos na Mostra:

Joel Coen was born in Minneapolis, 1957, three years before his brother Ethan, scriptwriter and producer. With Joel directing and Ethan writing the screenplay, they made Blood Simple (1984), first shown in Brazil at the 9th Mostra and then screened again at the 28th Mostra. The brothers also wrote and directed Miller’s Crossing (1990, 14th Mostra); Barton Fink (1991), winner of the Golden Palm in Cannes; Fargo (1996), The Great Lebowski (1998), O Brother, Where Art Thou? (2000, 24th Mostra), The Man Who Wasn’t There (2001); No Country for Old Men (2007, Closing Night of the 31st Mostra); Burn After Reading (2008, 32nd Mostra), A Serious Man (2009) and True Grit (2010). Inside Llewyn Davis, their 16th feature film, won the Grand Jury Prize at Cannes Film Festival.

Filmes já exibidos na Mostra:

David Leaf Born in Rochelle, New York, and graduated from George Washington University. He directed various documentaries for television, among these Beautiful Dreamer: Brian Wilson & The Story of the Smile and A Tribute of Heroes. For five years, he was director-producer for Disney´s Salute to the American Teacher. He wrote and directed episodes for Christopher Reeve: A Celebration of Hope (1998). He was responsible for programs about icons of humor such as the brothers Marx, Dean Martin, and Jerry Lewis. John Scheinfeld Born in Milwaukee, USA. Writer, director, and producer of documentaries for television. In 2006, he wrote and directed Who is Harry Nilsson (And Why Is Everybody Talking About Him?. He also made programs about icons such as Frank Sinatra, Peter Sellers, Nat King Cole, Bob Hope, the Bee Gees, and Bette Midler.

Filmes já exibidos na Mostra:

Born in Miraíma in up-country Ceará, in 1952. From the age of nine until he was fifteen, he studied theology at the Archdiocesan Seminary in Fortaleza. He gave up his religious career, and gained admission to the College of Languages of the State University of Ceará. In 1973, he was awarded a scholarship and studied cinema at San Francisco University in the U.S. Five years later, he directed and produced a short film Salve a Umbanda, awarded prizes in several festivals. In 1997, Landscapes of Memory, his first feature, was voted Best Latin American film at the Sundance Festival and was also awarded a Margarida de Prata trophy. As Tentações do Irmão Sebastião is his second feature, at the 16th Cine Ceará awarded the Critics Prize, the Art Direction prize and the Banco do Nordeste prize for Best Feature.

Filmes já exibidos na Mostra:

Born in Rio de Janeiro, in 1956. A pioneer in creating and directing videoclips in the country. Outstanding among his films are clips of the Paralamas do Sucesso, Alceu Valença, Lobão, and the prize-winning "Tempo Perdido" from Legião Urbana. He lived in Los Angeles from 1987 until 2004 and wrote the script, produced, and directed programs on cinema for TV Globo and the paid TV channel Telecine, in addition to co-productions with the Independent Film Channel (USA) and the French La 13ème network. 1972 is his first feature. Ana Maria Bahiana, co-script-writer, co-producer, and wife to José Emílio Rondeau was a journalist in the United States and, therefore, part of the foreign press that vote yearly in awarding the Golden Globe Prize. She edited the Almanaque Anos 70.

Filmes já exibidos na Mostra:

José Frazão Studied Cinema at the Universidade Federal da Bahia and began by making shorts. Moved to Rio de Janeiro and worked as an assistant director before directing his first feature film, J.S. Brown, o Último Herói de Gibi. His following film was a semi-fictional documentary, Vento Sul, a prize –winner at the Mannheim Festival (Germany). Another feature, O Mistério do Colégio Brasil, won the popular jury’s prize of best film at the Natal Festival. Zeca Pires José Henrique Nunes Pires, or Zeca Pires, as he is professionally known, was born in Florianópolis. In partnership with Norberto Depizzolati, made the short Manhã (1989) and the documentary Farra do Boi (1992). Returned to this theme with Ponte Hercílio Luz, Patrimônio da Humanidade (1996), followed by making the short Ilhas. Worked as an assistant to Cacá Diegues and Sylvio Back.

Filmes já exibidos na Mostra:

Rodrigo Meirelles - He was born in 1976. From 1994 until 1998, he studied at the University of São Paulo School of Engineering and in 2001 and 2002, Film Directing at the UCLA Film Extension in Los Angeles. He is publicity film director for O2 Films. He was assistant director for Oficina dos Atores (2003), a documentary on preparing the cast for City of God, by Fernando Meirelles. He directed short films Wake Up (2002), Murphy and ALNorte (both in 2003). He was executive producer for Cosmopolis (29th Mostra). Patricia Oriolo - Majored in radio and TV by FAAP. Since 1991, she has acted in the main Brazilian TV broadcasters as editor, script writer and agenda coordinator. Since 1996, she has worked with corporate communication in videos and events. She was responsible for research and production of the documentaries O Povo Ribeirinho do Amazonas (1995) and Mesa Brasileira (1996) and script writer for Formação Musical em São Bernardo do Campo (2006). She assists as script writer in the GNT Mothern series. Juarez Malavazzi Jr. - Majored in Film Production and Directing at the New York School of Cinema and in Civil Engineering at the Mogi das Cruzes University (SP). He directed short films Home More or Less (1991), Diabolo Bionda (1992) and Los Indios Tabajaras (2005-2006). He was assistant director to the feature Hans Staden (1999), by Luis Alberto Pereira and several publicity films from O2 Films.

Filmes já exibidos na Mostra:

Julia Bacha Co-script writer and editor of the documentary Control Room (2004), on Al Jazeera, the Arab television broadcasters. Born in Brazil, she went to New York in 1998 to study history and politics at Columbia University. In the course of her studies, she became interested in documenting life in the Amazon and in the mountains of Cuba and Jamaica. She was assistant to Bruno Barreto in O Casamento de Romeu e Julieta (2005). Ronit Avni Founder and director of Just Vision, a non-profit organization endeavoring to persuade Palestinians and Israelis to live in peace. She has co-produced short films on video in collaboration with filmmakers from Senegal, the United States, and Brazil working for Peter Gabriel´s human rights organization Witness. She wrote and produced a documentary, Rise, with the Afghanistan Revolutionary Women´s Association, awarded prizes in festivals in South Korea and Canada. Encounter Point was awarded the Prize for Best Documentary at the San Francisco Festival.

Filmes já exibidos na Mostra:

Born in Lille in 1896, Julien Duvivier was a theatre actor before turning to the cinema at the end of the First World War. After a period as assistant to Louis Feuillade and Marcel L’Herbier, Duvivier directed his own first film, Haceldama ou Le prix du sang, in 1919. During a long and prolific career, Duvivier made more than sixty films, and colaborated in many others. In addition to his work in France where he was reknowned for his commercial success, his efficacity and his technical prowess, he worked in the USA (particularly during a period of exile in the Second World War), in Canada, in England, in Belgium and in Germany. OCTUOR DE FRANCE The BNP Paribas Brazil Foundation, the Accor Group and Fnac present Octuor de France. Formed in 1979 by clarinettist Jean-Louis Sajot, the Octuor de France has always given priority to the promotion of music for the clarinet from the 18th century to the present day. The ensemble aims to have the widest possible repertoire and its name testifies to its desire to promote French music beyond its frontiers by means of regular overseas tours. The musicians of the Octuor de France perform in formations from duet to octet, with or without piano. They propose a vast repertoire of classical, romantic and contemporary works but also give their public the opportunity to rediscover forgotten or rarely played works. Furthermore, Octuor de France commissions scores from present day composers to encourage the creation of new works. The Octuor de France also participates in the revival of the silent movie by giving « concert-projections » with scores specially written for the Octuor de France. The Octuor de France has recorded the works of Antonin Reicha, Carl-Maria von Weber, Franz Schubert, Wolgang-Amadeus Mozart, Johannes Brahms, Joseph Haydn, Jean Françaix and Marcel Landowski. In the field of the silent cinema they have recorded the music for The Man Who Laughs written for the Octuor de France by the Canadian composer, Gabriel Thibaudeau, to accompany Paul Leni’s 1928 film based on Victor Hugo’s famous novel, L’homme qui rit, and also their first DVD, Visages d’Enfants by Jacques Feyder (1925) with music written for the Octuor de France by the Italian composer, Antonio Coppola, recorded in October 2004. In the 32th Mostra, o Octour de France if live present in the screenings of The Man Who Laugh’s and other classic movie mute, the drama Poil of Carrot, masterpiece of director Julien Duvivier, from 1925. Born in 1959 in Beauharnois, Quebec, Mr. Thibaudeau studied piano at the Vincent d’Indy Music School and composition at the Music Faculty of Montreal University. He also participated in summer schools at the Orford Arts Center where he worked on composition with Iannis Xenakis. As permanent pianist at the Quebec Film Library since 1988, and recognised as the Canadian specialist in the accompanying of silent movies, he has been invited since 1991 to the Gionarte del Cinema Muto, in Pordenone and since 1992 to the festival Il Cinema Ritrovato, in Bologna, Italy. Since 1993, among other works for the silent cinema, he has composed a quintet for brass and percussion for the film Straight Shooting (1971), a concerto for piano and chamber orchestra for the film The Fall of the House of Usher, a sextet for the film Foolish Wives, and a Requiem for soprano and piano for the film The Hunchback of Notre-Dame. In association with the Octuor de France he has composed the music to accompany The Man who Laughs, Au Bonheur des Dames, The Iron Mask and Poil de Carotte, as well as adapting for the Octuor de France his orchestral score for The Phantom of the Opera.

Filmes já exibidos na Mostra:

Born in Rio de Janeiro, Brazil, in 1946. Started his career as an assistant director in Menino de Engenho (1965), by Walter Lima Jr., and then directed the short films Lima Barreto - Trajetória and Bethânia Bem de Perto - A Propósito de um Show, both in 1966. Made his debut as a feature director in 1967 with Face to Face. In 1969, he founded with Rogério Sganzerla the production company Belair, directing in the same year two classics of “cinema marginal”: The Angel Was Born and Killed His Family and Went to the Movies. The following year, he directed three films: A Família do Barulho, Barão Olavo, o Horrível and Cuidado Madame. He is also the director of films such as Brás Cubas (1985, 9th Mostra), São Jerônimo (1998, 23rd Mostra), Days of Nietzsche in Turin (2001, 25th Mostra), The Herb of the Rat (2008, 32nd Mostra), Sentimental Education (2013, 37th Mostra) and Kid (2015, 39th Mostra).

Filmes já exibidos na Mostra:

Born in São Paulo in 1941, he is a director, actor and producer. In 1964, he started his career at the Teatro da Oficina and Arena. He worked as Geraldo Sarno’s assistant in the documentary Viramundo (1965), both as an actor and producer in Rogério Sganzerla’s The Red Light Bandit (1968), and directed the film Longo Caminho da Morte (1974), selected for the Locarno Film Festival, which he couldn’t attend because of the censorship at the time. He was in the cast of, among others, Carlos Reichenbach’s Filme Demência (1986), and Guilherme de Almeida Prado’s A Dama do Cine Shanghai (1988). He is the creator of film exhibitions such as Cinema de Invenção and Cinema Negro. More recently, he directed Vinte Anos Sem Gonzaquinha, short made for the Calouste Gulbenkian Foundation, in Lisbon.

Filmes já exibidos na Mostra:

It has been almost 15 years since the countries declared their independence from one another, but Slovakia born director Juraj Jakubisko’s personality, work and focus are all marked by the dual cultural identity of the former Czechoslovakia. Before becoming a filmmaker, Jakubisko taught still photography at a school in Bratislava. In 1960 he moved to Prague and studied at FAMU. At age 28 Jakubisko directed his first feature film, Crucial Years (Kristove roky, 1967). That was followed by Deserters and Pilgrims (1968). The short-story triptych received the medal for young artists (Little Lion) at the Venice International Film Festival. During the communist clampdown that followed, Jakubisko’s work faced heavy censorship. Banned from feature film making for 15 years, his short films and commercials continued to bring forbidden recognition. But Jakubisko seized an opportunity to speak out with his 1979 Build a House, Plant a Tree. The resulting success at the film festival in Amsterdam placed the film on a list of prohibited works and meant another embargo on further activities for the director, but he continued to work for cinema and TV.

Filmes já exibidos na Mostra:

Kiko Goifman Kiko Goifman was born in Belo Horizonte in 1986. He graduated as an anthropologist at UFMG and did his masters in multimedia at Unicamp. He got a scholarship at the Fundação Vitae in 1998, studying film and video to research for the documentary Dense Death. In 2003 he did 33, a documentary like film investigation with noir esthetics. Jurandir Müller Jurandir Müller was born in São Paulo in 1960. He’s an artist and documentarist and has been realizing several different support projects. He created de production company PaleoTV, which he co-directs with Kiko Goifman. The company is dedicated to several cultural projects in film and video. Also with Kiko Goifman, he participated in the 24º and 25º International São Paulo Bienale, at the Web Art nucleus

Filmes já exibidos na Mostra:

43ª MOSTRA INTERNACIONAL DE CINEMA

43ª MOSTRA INTERNACIONAL DE CINEMA