Italy’s The Open Reel has taken on international sales for Juliana Rojas’ Berlinale Encounters title Cidade; Campo.
Cidade; Campo tells two stories of migration between city and countryside. In the first part, after a dam disaster floods her hometown, rural worker Joana moves to São Paulo but struggles to thrive in the city. In the second part, after the death of her estranged father, Flavia moves to his farm with her wife Mara. In both stories, nature forces the two women to face frustrations and cope with old memories and ghosts.
A Brazilian, German and French co-production, Cidade; Campo...
Cidade; Campo tells two stories of migration between city and countryside. In the first part, after a dam disaster floods her hometown, rural worker Joana moves to São Paulo but struggles to thrive in the city. In the second part, after the death of her estranged father, Flavia moves to his farm with her wife Mara. In both stories, nature forces the two women to face frustrations and cope with old memories and ghosts.
A Brazilian, German and French co-production, Cidade; Campo...
- 2/12/2024
- ScreenDaily
Directed by Caetano Gotardo and Marco Dutra, Brazilian Berlin competition entry “All the Dead Ones” kicks off in Belle Epoque 1899 São Paulo. Ana, the daughter of a plantation owner and her nun sister attempt persuade a reluctant Ina, a former slave, to perform an ancient African ritual to cure their mother. A time warp at the hour mark moves part of the drama to contemporary high-rise São Paulo, as Ana in 1899 becomes obsessed by ghosts of dead black slaves.
“‘All the Dead Ones’ talks about how Brazil is much richer than we maybe think. Although a period film, it talks in a very original way about something still happening today,” says Carlo Chatrian, Berlin artistic director. The directors talked to Variety about the film.
The film uses an arresting time warp to ask how much Brazil has really changed.
Gotardo: The way that Brazilian society was organized after the end...
“‘All the Dead Ones’ talks about how Brazil is much richer than we maybe think. Although a period film, it talks in a very original way about something still happening today,” says Carlo Chatrian, Berlin artistic director. The directors talked to Variety about the film.
The film uses an arresting time warp to ask how much Brazil has really changed.
Gotardo: The way that Brazilian society was organized after the end...
- 2/23/2020
- by John Hopewell
- Variety Film + TV
Participating in San Sebastian’s Europe-Latin America Co-production Forum, Paula Kim’s debut feature “Butterfly Diaries” is pitched along the lines of controversial series “13 Reasons Why” and Marti Noxon’s anorexia drama “To the Bone,” both on Netflix.
“The film addresses a very important issue that afflicts many young girls, made by a director who is also a young woman,” said co-producer Sara Silveira, of Dezenove Som e Imagens, Brazil.
In “Butterfly Diaries,” a Brazilian exchange program student in London struggles not only with the onset of puberty but with a mental disorder.
“As an artist, I believe that sometimes, a person has to go through a very painful trial just to have a glimpse of what he or she truly holds within himself or herself,” said Kim, adding: “It is a film about existential crisis.”
Drama, penned by Kim, will be shot in Portuguese with some English in the U.
“The film addresses a very important issue that afflicts many young girls, made by a director who is also a young woman,” said co-producer Sara Silveira, of Dezenove Som e Imagens, Brazil.
In “Butterfly Diaries,” a Brazilian exchange program student in London struggles not only with the onset of puberty but with a mental disorder.
“As an artist, I believe that sometimes, a person has to go through a very painful trial just to have a glimpse of what he or she truly holds within himself or herself,” said Kim, adding: “It is a film about existential crisis.”
Drama, penned by Kim, will be shot in Portuguese with some English in the U.
- 9/23/2018
- by Anna Marie de la Fuente
- Variety Film + TV
Films and projects travel from Sundance to Rotterdam and Rotterdam’s love affair with Latin America becomes apparent.
Making their way from Sundance to Rotterdam, “Lemon” was Opening Night in the International Film Festival Rotterdam, Sloan Prize Winner “Marjorie Prime” played in Voices while director Michael Almereyda was on the Jury of the Hivos Tiger Competition. His documentary, “Escapes” also played in the Regained section of the festival.
“Marjorie Prime”: Director Michael Almereyda, Lois Smith and Jon Hamm
“Chile’s “Family Life” by Alicia Scherson and Cristian Jimenez, Singapore’s “Pop Aye”, “Lady Macbeth” and “Sami Blood” all screened here after premiering in Sundance as well.
Pop Aye director Kirsten Tan won the Big Screen Competition and in addition to the cash prize may also count on a guaranteed release in Dutch cinemas and on TV.
“The Wound” by John Trengove has even longer legs, reaching from Sundance World...
Making their way from Sundance to Rotterdam, “Lemon” was Opening Night in the International Film Festival Rotterdam, Sloan Prize Winner “Marjorie Prime” played in Voices while director Michael Almereyda was on the Jury of the Hivos Tiger Competition. His documentary, “Escapes” also played in the Regained section of the festival.
“Marjorie Prime”: Director Michael Almereyda, Lois Smith and Jon Hamm
“Chile’s “Family Life” by Alicia Scherson and Cristian Jimenez, Singapore’s “Pop Aye”, “Lady Macbeth” and “Sami Blood” all screened here after premiering in Sundance as well.
Pop Aye director Kirsten Tan won the Big Screen Competition and in addition to the cash prize may also count on a guaranteed release in Dutch cinemas and on TV.
“The Wound” by John Trengove has even longer legs, reaching from Sundance World...
- 2/8/2017
- by Sydney Levine
- Sydney's Buzz
Marcelo Gomes' appealing little road picture, "Cinema, Aspirinas e Urubus" (Cinema, Asiprins and Vultures) tells an affecting tale of a German driving around the barren north country of Brazil selling the new wonder drug aspirin during World War Two.
Unlikely to break out of the festival circuit, the film is well worth seeing for its views of the parched wilderness of far-flung Brazil and its talkative depiction of an unlikely friendship.
Johann (Peter Ketnath) is a young German, blond and handsome, who signed on as a ship's waiter just before war broke out, and fetched up in Brazil where he has spent three months selling the new drug to farmers and peasants. He accomplishes this by setting up a makeshift screen and showing Brazilian commercials for aspirin that make buying it seem positively patriotic.
Along the way, he encounters Ranulpho (Joao Miguel), an itinerant and likeably bilious northerner who becomes his assistant as they travel the sun-blighted region. Their friendship and the weird and wonderful people they meet on the road occupy the rest of a film.
Ranulpho's desire to live a life of freedom and Johann's wish to live a life free of war are finally threatened when Brazil declares war on Germany.
Gomes explores his themes with considerable insight and uses film projection to create some simple but magical sequences.
CINEMA, ASPIRINAS E URUBUS (Cinema, Aspirins and Vultures)
Rec Produtores Assoc., Dezenove Som e Imagens
Credits: Director: Marcelo Gomes; Screenwriters: Marcelo Gomes, Paulo Gomes, Karim Ainouz; Inspired by tales of a journey by: Ranulpho Gomes; Producers: Sara Silveira; Maria Ionescu, Joao Vieira Jr.; Cinematographer: Mauro Pinheiro; Art director: Marcos Pedroso; Editor: Karen Harley; Music: Tomas Alves de Souza. Cast: Johann: Peter Ketnath; Ranulpho: Joao Miguel; Adelina: Fabiana Pirro; Man at restaurant: Jose Leite; Woman with chicken: Zezita Matos; Jovelina: Hermila Guedes; Claudionor Assis: Oswaldo Mil; Maria da Paz: Veronica Cavalcanti; Cacador: Mano Fialho.
No MPAA rating,
running time 99 minutes...
Unlikely to break out of the festival circuit, the film is well worth seeing for its views of the parched wilderness of far-flung Brazil and its talkative depiction of an unlikely friendship.
Johann (Peter Ketnath) is a young German, blond and handsome, who signed on as a ship's waiter just before war broke out, and fetched up in Brazil where he has spent three months selling the new drug to farmers and peasants. He accomplishes this by setting up a makeshift screen and showing Brazilian commercials for aspirin that make buying it seem positively patriotic.
Along the way, he encounters Ranulpho (Joao Miguel), an itinerant and likeably bilious northerner who becomes his assistant as they travel the sun-blighted region. Their friendship and the weird and wonderful people they meet on the road occupy the rest of a film.
Ranulpho's desire to live a life of freedom and Johann's wish to live a life free of war are finally threatened when Brazil declares war on Germany.
Gomes explores his themes with considerable insight and uses film projection to create some simple but magical sequences.
CINEMA, ASPIRINAS E URUBUS (Cinema, Aspirins and Vultures)
Rec Produtores Assoc., Dezenove Som e Imagens
Credits: Director: Marcelo Gomes; Screenwriters: Marcelo Gomes, Paulo Gomes, Karim Ainouz; Inspired by tales of a journey by: Ranulpho Gomes; Producers: Sara Silveira; Maria Ionescu, Joao Vieira Jr.; Cinematographer: Mauro Pinheiro; Art director: Marcos Pedroso; Editor: Karen Harley; Music: Tomas Alves de Souza. Cast: Johann: Peter Ketnath; Ranulpho: Joao Miguel; Adelina: Fabiana Pirro; Man at restaurant: Jose Leite; Woman with chicken: Zezita Matos; Jovelina: Hermila Guedes; Claudionor Assis: Oswaldo Mil; Maria da Paz: Veronica Cavalcanti; Cacador: Mano Fialho.
No MPAA rating,
running time 99 minutes...
- 5/17/2005
- The Hollywood Reporter - Movie News
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