Directors

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Born in 1976, in Bom Despacho, Minas Gerais. Studied photography at the Guignard School, in Minas Gerais. He graduated in communication and arts by PUC Pontíficia Universidade Católica in Minas Gerais, and specialized in cinematographic language. He is one of the founders of TEIA, a center for experimentation and audiovisual research in Belo Horizonte. He made a documentary, Mira (2001), in Cuba, winner of the DirecTV acquisition prize at the VI É Tudo Verdade (It’s All True) Film Festival. He completed the videoinstallation Artifícios do Olhar (2005) as from the Program for Residence Blind Spaces, in Durban, South Africa. In 2006, he developed a project for a feature Águas de Valls and finished the short film in 35mm Atrás do Espelho. Accident is his first feature.

Filmes já exibidos na Mostra:

Paolo Taviani was born in San Miniato, Italy, in 1931. His older brother, Vittorio, was born two years before. Together they did a series of documentaries between 1954 and 1959, and they collaborated in the realization of Italy Is Not a Poor Country (1960), by Joris Ivens. They directed their first feature together with Valentino Orsini, A Man for Burning (1962). The partnership between brothers would continue in 17 other films. Paolo and Vittorio were two of the directors issued in I Nostri 30 Anni - Generazioni a Confronto (30th Mostra), by Giovanna Taviani, Vittorio’s daughter. Among their most famous films are Father and Master (30th Mostra), which won the Golden Palm at Cannes and Good Morning Babylonia (11th Mostra). The 30th Mostra showed some of their political movies like The Meadow, The Subversives and Under the Sign of Scorpio.

Filmes já exibidos na Mostra:

Studied film at the St. Lucas Institute in Brussels, from which she graduated in 1990. She proceeded to make several short films, documentaries and television programmes. Her debut feature Rosie was released in 1998. In 2005 she directed the television film Gezocht: Man that was screened at the Rotterdam International Film Festival. She has just finished her second feature Nowhere Man, which has already been awarded the Sundance/NHK International Filmmakers Prize and is personally supported by Wim Wenders. CARTE BLANCHE TO WIM WENDERS - THE 2008 HUMANITY PRIZE Wim Wenders has been given carte blanche by the 2008 São Paulo International Film Festival to program whatever he will. He has been one of the authors most in evidence over the course of Mostra editions and of our history as film lovers. Always courageous in manifesting his disquiet in face of a world with misleading signs of modernity, Wenders manifests his non-conformity with disturbing sagacity, presence of mind, innovation, and a ceaseless quest for innovating formulas of expression. Changeable and sufficiently daring, he has never concealed his fascination for American popular culture and the icons that people our imagination - outright fascination with criticism, not dazzle, that imbues us with courage and frees us from the guilt of stagnation - an invitation to travel and to a second reading: fascination that fills our eyes and mind with poetry and musicality, nostalgia and modernity, looking back into the past and into the future with the certainty of one crying out for changes in the present. Wenders made good use of fame that grew rapidly as emerging talent in a Germany paranoic about its own future. Even as an exponent of the New German Cinema movement, he made his way to the United States to pay tribute to several of his idols - one to actor and director Dennis Hopper, with The American Friend (Der Amerikanische Freund, 1977), another to directors Nicholas Ray and Samuel Fuller, all three acting in the same film. He re-invented his modernity with a neo-noir film and, at the same time, aroused our admiration for novelist Patricia Highsmith and her inspired character Tom Ripley. He also paid tribute, indirectly, to Alfred Hitchcock who adapted the novel to cinema in Strangers on a Train (1950). Wim Wenders’ sincerity is stimulating. His American pilgrimage was astonishing. His films involved spectators with characters and plots able to take the martyrdom of a film lover to the final consequences - a return to Nicholas Ray, the mythical director of Johnny Guitar (1954) and Rebel Without a Cause (1955). With him, Wenders filmed Lightning Over Water (1980) to record his slow, real death. Wim Wenders’ inventiveness afforded us exciting escapes, even when they triggered conflict with icons admired in common. Such was the case of the fascinating tribute to Dashiel Hammett, author of police novels, the soul of film noir, at a very high cost. Hammett, of 1982, was also filmed in the United States and generated conflicts with the producer we so admired as a film maker - Francis Ford Coppola. Between agitated filming and interruptions, he went back to Europe to film The State of Things, in 1982. He would never have imagined, but this film became the symbol of resistance against the Brazilian military dictatorship, after winning the Golden Lion at the Venice Festival. On October 20, 1984, with over one thousand people in a sold-out session of The State of Things at Cine Metrópole, a movie theater that has, unfortunately disappeared, the agents of the Federal Police arrived with orders to close down the 8th São Paulo International Film Festival. In The State of Things, a filming team is in Portugal inspired on Wenders’ own autobiography with the difficulties of a film maker to make a film without being able to shake off the opression from the producer. It all began one month before the 8th Mostra opened, when we challenged the government in its last year of dictatorship. By sueing the Federal Government, we would win the case in court so that, for the first time in eight years of existence, we would hold a festival without subjecting the selection of films to prior government censorship. Mostra was reacting to all the years of humiliation. One week later, the federal government was to annul the temporary restraining order and, to everyone’s astonishment, close down Mostra. And precisely when The State of Things was being shown... With my voice shaken and tears in my eyes, I read the court decision to an astonished audience - prohibiting a São Paulo International Film Festival free of censorship. Meanwhile, in the throes of creativity, Wim Wenders recovered from the impact of the previous American film and was awarded the Golden Palm in Cannes, 1984 for Paris, Texas - impeccably modern, with a script by Sam Shepard on finding and losing, with actors Harry Dean Stanton and Natassja Kinski and music by Ry Cooder. Wenders, admirable film maker and film lover that he was, next took us to Japan with a diary documentary Tokyo-Ga in the form of a pilgrimage and reverence to the great master, Yasujiro Ozu. It was Wenders who, in 1985, opened the eyes of new generations to the cinema of the great Japanese master. In Wim Wenders’ films we could observe his capacity for divesting, invariably making himself seem much smaller in comparison to the icons of one’s cultural background. With him, we learned about the great driving force of humility. In the film, covering Japanese scenarios and rituals as bizarre as they are fascinating, Wenders behaves with the discipline of a pupil and highlights how very Japanese and universal the inestimable cinematographic heritage of Ozu really is. Admiration for Wim Wenders grew with each revelation and each new surprise in his films. The most thrilling of all the films at this stage was, most certainly, his demolishing of the Berlin Wall ahead of time, with Wings of Desire (1987). Chaste angels dare ignore the existence of the abominable wall and fly back and forth over the frontiers, to find the souls they are to guard. Wings of Desire was, deservedly, awarded the Prize from the Public at the 12th Mostra in 1987 and was immediately inserted in the collection of his films that are forever adored. Unforgettable, also, is the fact the angels could see only in black and white. They only saw in color when they became mortals having committed the ‘sin’ of falling in love with live beings. Remarkable also is Wim Wenders’ equally surprising talent and generosity in lending prestige to musical talents to aggregate values to his films. “My life was saved by Rock’n Roll. Because it was this kind of music that, for the very first time in my life, gave me a feeling of identity, the feeling that I had a right to enjoy, to imagine, and to do something”, says Wenders in his official site www.wim-wenders.com. The listing of musicians invited to his films is considerable - Ry Cooder, Daniel Lanois, Willie Nelson, U2, Bono, Nick Cave, BAP, Wolfgang Niedecken, Ronnee Blakley, and Lou Reed, in addition to achieving a world feat by redeeming talent in groups such as the Buena Vista Social Club, of 1998. With this musical documentary, Wenders brought added life to a group of very talented Cuban musicians. Or, as when he focused on the story of three impressive bluesmen - Blind Willie Johnson (1902-1947), Skip James (1902-1969), and J. B. Lenoir (1929-1967) in The Soul of a Man (2003), his feature within the blues series and that, again, was awarded the Prize from the Public at the 27th Mostra. Wim Wenders justifies his choice of the three bluesmen because, in them, he identified characteristics in common: “They were ahead of their time, they wrote their own music, they were complete singers and instrumentalists, and they died unknown and forgotten”. For this film Wim Wenders was awarded the Humanity Prize at the 32nd São Paulo International Film Festival. With his gesture and with his films, he enriched the listing of those formerly indicated to the Mostra Humanity Prize, namely Manoel de Oliveira, Eduardo Coutinho, and Amos Gitai. To all, attention to the films chosen by Wim Wenders with carte blanche. Mostra can finally see its guardian angel in color. Leon Cakoff

Filmes já exibidos na Mostra:

Patricia Rozema é filha de imigrantes holandeses no Canadá. Despertou seu veio artístico já no colégio onde ganhou seu primeiro prêmio, mas de melhor atriz. Quando sua carreira já parecia definida no mundo teatral, resolveu inscrever-se num curso de cinema de cinco semanas e rodar seu primeiro filme Passion: a Letter in 16mm. Antes de rodar seu longa de estréia Ouvi as Sereias Cantando (I`ve Heard the Mermaids Singing, 1987, seleção da 12ª Mostra), dividindo em Cannes o prêmio de estreante com Spike Lee, foi assistente de direção de David Cronenberg na refilmagem de A Mosca. Seus filmes seguintes foram O Mistério do Quarto Branco (White Room, 15ª Mostra), o episódio Desperado para a série Montreal vu par... e Quando a Noite Cai (When Night is Falling, 1995).

Filmes já exibidos na Mostra:

PAUL FIERLINGER He was born in 1936 in Ashiya Japan, where his parents were Czechoslovak career diplomats. He spent the WWII years in the USA, and at the age of 12, while living in a boarding school in Czechoslovakia, created his first animated film by shooting drawings from his flipbook. In 1955, he graduated from the Bechyne School of Applied Arts. In 1967, escaped from Czechoslovakia to Holland. He arrived in the USA in 1968, where he first worked for Universal Pictures as a documentary director. In 1971, formed AR&T Associates, his own animation house, which has produced over 800 films, including television commercials. SANDRA FIERLINGER She grew up in Wayne, Pennsylvania, and graduated in 1978 from the Pennsylvania Academy of the Fine Arts. She has collaborated with her husband Paul on several dozen films for TV channels such as Sesame Street, Nickelodeon and the American Playhouse.

Filmes já exibidos na Mostra:

Born in Berlin, he became an avant-garde painter at age 15 and then began working as a set designer for the theater, working with directors such as Max Reinhardt. Around 1914, he became an art director and was an important figure in German expressionist filmmaking, with two great contributions: Backstairs and Waxworks, notable for their spooky ambience and innovative techniques. In 1927 he moved to Hollywood and directed The Cat and the Canary, a classic Gothic film that had great influence over Universal`s later horror films. Leni was only to make three more such films, including The Man who Laughs, before dying of blood poisoning in 1929. 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:

Zhang Zeming was born in Guangzhou and grew up in the Pearl River Film Studio. His formal education was halted in 1966 by the Cultural Revolution and in 1968 he was sent to work on a rubber plantation in Hainan Island. He returned to the studio in 1978, working as a production assistant. He wrote his own screenplays and studied Chinese literature with the Guangdong TV University. The studio was impressed by his script Swan Song (85) and invited him to direct the film as part of an initiative to encourage young film-makers. He went on to direct Dan Yi (86), for the TV, and Sun and Rain (87). He went to the UK in 1989, working on projects with the BBC and British Film Institute, culminating in the making of A Date in Portland Street (94) and Foreign Moon (95). He directed also the documentary The Land of the White Cloud (2001). Paul Liu was born in 1955 in Guangzhou and has graduated in Beijing Film Academy (1986) and in Australian Film, Television & Radio School (1995). He has worked as sound assistant, editor, and cameraman.

Filmes já exibidos na Mostra:

Vecchiali was born in the city of Ajaccio, region of Corsica, France, in 1930, and was raised in Toulon. He began his professional course in 1961 with the movie Les Petits Drames, but his recognition only came a decade later, in films like The Strangler (1970), Women Women (1974), Don’t Change Hands (1975) and Drugstore Romance (1979) —his most known and successful features. In the 1980s, he made movies like At the Top of the Stairs (1983), Rosa la Rose, Fille Publique (1986), Once More (1988) and Le Café des Jules (1989). The rediscovery of his filmography happened in the 2010s, with movies such as White Nights on the Pier (2014, 38th Mostra), C’est l’Amour (2015, 39th Mostra) and Le Cancre (2016, 40th Mostra). On the 41st Mostra, the filmmaker received the Leon Cakoff Prize for his career and had a retrospective of his vast trajectory.

Filmes já exibidos na Mostra:

Paula de Luque is a filmmaker, choreographer, and dancer. She graduated from the Colon Theater’s Superior Art School. She was a dancer with the Buenos Aires Colon Theater’s Stable Ballet Company. In 1987 she started devoting herself to Contemporary Dance, participating as interpreter in different groups in Buenos Aires and Europe. She has been a member of Nucleodanza, Contemporary Dance Company, during 10 years participating in numerous tours through the United States, Europe, Australia, and Indonesia besides performing throughout Argentina and in the city of Buenos Aires. In 1993 she started exploring video filmmaking and experimenting with film and dance languages. She belongs of the first generation of Videodance filmmakers of Argentina. Cielo azul cielo negro (Blue Sky Black Sky) was her first feature fiction film and was premiered internationally at the 57th Locarno International Film Festival, in 2004. In 2006 she directed Todas esas Cosas (All those things), documentary feature film about the sexual minoritite’s history, and also Quince minutos de gloria (Fifteen glory minutes), a TV movies produced by Canal 7. The Dress is her second feature.

Filmes já exibidos na Mostra:

Paulo Betti Born in Sorocaba (SP) in September, 1942. He graduated from the School of Dramatic Art of the University of São Paulo and has had a long career as an actor in theater, television, and cinema. He took part, among others, in the films Mauá, o Imperador e o Rei, Oriundi, included in the 23rd Mostra, and The Battle of Canudos. Cafundó was his first film as director. In the Gramado Festival 2005, Cafundó was awarded prizes for best actor (Lázaro Ramos), best photography (José Roberto Eliezer), best art direction (Vera Hamburger), with a special award from the jury. Clóvis Bueno Actor, director, scenographer, and costume designer in theater in the sixties and seventies. He specialized in art directing and was part of several films, amongst these Kiss of the Spider Woman, A Dona da História, and Onde Anda Você. In 2001, he was awarded the Grand Prize for Cinema in Brazil, for Art Director, with Castelo Rá-Tim-Bum. Cafundó is his first film as director.

Filmes já exibidos na Mostra:

He was born in 1970 in São Paulo. He majored in Publicity and Marketing by the ESPM - Advanced School for Publicity and Marketing. He completed a course in Executive Management in Cinema and TV at Fundação Getúlio Vargas. He took special courses in camera, script writing, and lighting in the United States and wrote, photographed and directed short films such as award-winning No Bar (2002), in partnership with Cleiton Stringhini, selected for the 26th Mostra. He also made Super-Herói Fora de Série (2006). He was director of photography, together with Joel Lopes of Quarta B, a feature by Marcelo Galvão voted by the public Best Brazilian Film at the 29th Mostra. In 2007, he made and photographed a short film, Vintage, together with Juliana Curi. Wanna Know? is his first feature, in which he adopts his nickname Disca for a surname.

Filmes já exibidos na Mostra:

Pavo Marinkovic - Born in Zagreb, Croatia, in 1967, he graduated in Scriptwriting at the ADU (Academy of Drama Arts). His first dramatic works appeared in the early nineties. His plays, performed in Croatia and abroad, have garnered numerous awards. He has worked for the drama program of the Croatian television, supervising scriptwriting on some twenty long and medium-length features, and several miniseries. He wrote the screenplay for the Drazen Zarkovic feature Go, Yellow! (2001). Tresette - A Story of an Island is his first feature as a director. Drazen Zarkovic - Born in Zagreb, Croatia, in 1970, he graduated in Film and TV Directing at the ADU (Academy of Drama Arts). Working as a freelance artist since 1993, he has created numerous feature and documentary projects as writer and director. He has won four Oktavijan Awards from the Croatian Film Critics’ Society for his short subjects Cakaj Me (1993), Hunt for Oneself (1994) and Salter (2001), and for his medium-length feature Novogodisnja Pljacka (1998). His feature-length debut Go, Yellow! (2001) won following year the Silver Olive at the International TV Festival Bar, in Montenegro. Tresette – A Story of an Island is his second feature.

Filmes já exibidos na Mostra:

The most important Spanish filmmaker since Buñuel, Almodóvar was born in Calzada de Calatrava in 1949. He signed the poster art for the 38th Mostra, edition of the event that paid tribute to the director with a retrospective of his films. Among his main works are Dark Habits (1983); What Have I Done to Deserve This? (1984); Women on the Verge of a Nervous Breakdown (1988), best screenplay at Venice International Film Festival; Law of Desire (1987); Tie Me Up! Tie Me Down! (1989); The Flower of My Secret (1995); All about My Mother (1999), winner of the direction award at Cannes Film Festival and the Academy Award of best foreign language film; Talk to Her (2002), for which he received the Academy Award of best original screenplay; Volver (2006), best screenplay at Cannes; The Skin I Live in (2011) and Pain and Glory (2019).

Filmes já exibidos na Mostra:

WORLD DAY FOR AUDIOVISUAL HERITAGE
27th October

In 2010, the Cinemateca Brasileira and the 34th São Paulo Film Festival join forces to celebrate the World Day for Audiovisual Heritage, presenting the public with a selection of Brazilian films in new copies or ones restored by the Cinemateca.

On the 27th of October 1980, the Recommendation for the Safeguarding and Preservation of Moving Images was founded in Belgrade, during the 21st Unesco General Conference. The organization’s initiative sought to bring to the attention of society and of governments the need for urgent action to assure the preservation of cinematic, televisual, and radiophonic material from around the world. In 2005, Unesco announced the 27th of October as being the World Day for Audiovisual Heritage. Since then, the date has come to be celebrated by Cinematheques and film archives, with the support of the International Federation of Film Archives.

The selection chosen for the programme brings together classics and rarities from popular Brazilian Cinema – from erotic comedies to police dramas, from science fiction to westerns. On top of this, in celebration of the centenary of Bahian Cinema, São Paulo will host its first ever screening of a restored copy of Tocaia no Asfalto (1962), by Roberto Pires, one of Bahia’s most distinguished filmmakers. In commemoration of another centenary this year, that of Corinthians football club, there will also be a screening of a restored copy of O Corintiano (1966), by Milton Amaral, a comedy starring Mazzaropi. Both films were restored by the Cinemateca Brasileira during the 2007 Restoration Programme, sponsored by Petrobras. SCHEDULE: Ainda Agarro esta Vizinha, by Pedro Carlos Rovai (1991) Bonecas Diabólicas, by Flávio Nogueira (1975) Gregório 38, by Rubens da Silva Prado (1969) Na Senda do Crime, by Flaminio Bollini Cerri (1954) O Corintiano, by Milton Amaral (1966) Os Desclassificados, by Clery Cunha (1972) Tocaia no Asfalto, by Roberto Pires (1962)

Filmes já exibidos na Mostra:

Born in Vitória, Espírito Santo, he was born in March, 1936. He started with a career in radio where he also worked as an actor, radio actor, writer, reporter, producer and artistic director. He transferred to São Paulo in 1959 and worked for a number of Paulista broadcasting stations. He began in cinema as continuist and directing assistant in films by Ody Fraga, Ary Fernandes, Milton Amaral, Carlos Coimbra, and Mazzaroppi. His first film as director in 1969 was Amores de um Carona, followed by O Diabo Tem Mil Chifres (1970), and Até o Último Mercenário (1971). He also worked for Globo Network and Cultura TV in the 1970s. He returned to cinema once more with a short film, Naturezas Mortas (1995), the winner at several festivals. In 2006, he made a long documentary, Um Craque Chamado Divino, on football player Ademir da Gula.

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:

Nasceu em Aldershot, Inglaterra, em 1960. Formou-se em dramaturgia pela Universidade de Manchester. Depois, iniciou a carreia de ator teatral. Trabalhou ao lado do ator, diretor e cineasta Kenneth Branagh em duas peças, The Gamblers e Another Country. Dedicou-se, também, a adaptações teatrais e direção de algumas peças, como Madame Bovary e 0 Jardim das Cerejeiras. Também como ator, participou de numerosas produções para a televisão, como Good and Bad at Games, ao lado de Rupert Graves. Em meados dos anos 90, trabalha algum tempo na produtora cinematográfica Milestone Pictures, depois, começa a produzir curtas-metragens: Requiem, Frogs e Strange Dreams (to doe de 1994). Em 1995, funda sua própria produtora, a Boxer Films, juntamente com Lisa Hope e Angela Hart. Este é seu primeiro longa-metragem.

Filmes já exibidos na Mostra:

Pasolini nasceu em Bologna, em 1922. Romancista, poeta, com ampla formação humanista e também marxista, passou ao jornalismo, onde se notabilizou por toda a Europa como um dos grandes polemistas entre os intelectuais italianos da modernidade. Daí para o cinema foi um passo natural. Pasolini "aprendeu" por si só a colocar em imagens um pensamento de alta densidade intelectual. Estreou com "Accatone" (1961), torturadamente realista, já um clássico. Sua filmografia inclui títulos fundamentais: "Mamma Roma" (1963), "O Evangelho Segundo São Mateus"(1964), "Gaviões e Passarinhos"(1966), "Édipo Rei" (1967), "Teorema" (1968), "Medéia" (1969), "Pocilga"(1970), e a "Trilogia da Vida", com "Os Cantos de Canterbury", "Decameron" e "As Mil e Uma Noites", verdadeiros estudos de antropologia social. "Saló" foi seu último filme, antes do brutal assassinato do qual foi vítima, em 1975, de uma certa maneira por ele mesmo profetizado no epílogo de "Accatone". "Saló" é também uma espécie de testamento suicida: cruel, inconformista, debochado e ultrarealista.

Filmes já exibidos na Mostra:

43ª MOSTRA INTERNACIONAL DE CINEMA

43ª MOSTRA INTERNACIONAL DE CINEMA