Directors

173 registers

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 Fortaleza, Ceará, Brazil, in 1966. He is graduated in architecture and urbanism from the Brasilia University and has a master in theory and history of cinema in the New York University. In the 2000’s, he collaborated with the scripts of movies like Shredded April (2001) by Walter Salles; Cinema, Aspirins and Vultures (2005, 30th and 41st Mostra), by Marcelo Gomes and Lower City (2005, 29th Mostra), by Sérgio Machado. He made his debut in feature films direction in 2002 with Madame Satã, screened at the 26th Mostra. He also directed Suely in the Sky (2006, 30th Mostra), I Travel Because I Have To, I Come Back Because I Love You (2009), in partnership with Marcelo Gomes, The Silver Cliff (2011), Futuro Beach (2014) and Central Airport: THF (2018, 42nd Mostra). The 43rd Mostra also screens his most recent film, The Invisible Life.

Filmes já exibidos na Mostra:

Keith Fulton american producer and director with a specialization in documentaries and a university background in the history of art, he has made documentaries such as John the Barber (1993) and Ben Franklin(s): A Historical Fiction (1995). Together with Louis Pepe, he developed a project to criticize the system of production in the Hollywood industry that includes The Hamster Factor and Other Tales of Twelve Monkeys (1996) and this Lost in La Mancha (2002). Louis Pepe an independent director, living in Los Angeles, he divides his time between documental projects and fiction. His best-known short film is Roadside Eulogy (1991), a study on people run over on highways. In 1999, he directed the trilogy Moments of Doubt, on women struggling for their personal lives, but that are under domination of the strict demands of their respective careers.

Filmes já exibidos na Mostra:

He was born in 1960, in Belfast, Northern Ireland. At the age of 23, he joined the Royal Shakespeare Company. He also studied at the Royal Academy of Dramatic Arts, in London. He founded the Renaissance Theatre Company. He is best known for his interpretations of William Shakespeare’s plays. He made his directorial debut in 1989 with Henry V and has since directed film adaptations of Shakespeare’s Much Ado About Nothing (1993), Hamlet (1996), Love’s Labour’s Lost (2000), and As You Like It (2006). His other films as director include Dead Again (1991), Peter’s Friends (1992), Frankenstein (1994), In the Bleak Midwinter (1995), and Sleuth (2007). He also works as an actor with other filmmakers, like in Harry Potter and the Chamber of Secrets (2002) and Rabbit-Proof Fence (2002).

Filmes já exibidos na Mostra:

Youssef Chahine - He was born in Alexandria, Egypt, in 1926. He studied at Alexandria University and Cinema and Drama at the Pasadena Play House in the U.S. Alvise Orfanelli, a pioneer in Egypt, produced his first feature Father Amine, in 1950. Ten years later with Le Fils du Nil, he participated for the first time of the Cannes Film Festival. In 1979, he was awarded a Silver Bear and the Grand Jury Prize at the Berlin Film Festival with Alexandrie, Pourquoi, first part of the autobiographical trilogy that would be completed with an An Egyptian Story (1982) and Alexandria Again and Forever (1990). He has a solid career of over 40 films including Destiny (21st Mostra), The Other (23rd Mostra), The Sixth Day (11th Mostra), the episode Egypt of the collective film 11’09’’01 - September 11 (26th Mostra), and Alexandria... New York (28th Mostra). Khaled Youssef - He was born in Cairo and studied Engineering. He worked as an assistant director for Youssef Chahine and co-wrote the scripts for his films Destiny (21st Mostra), The Other (23rd Mostra), and Alexandria... New York (28th Mostra). He has directed such features as The Storm (2000), My Soul Mate (2004), Ouija (2006) and Chaos (co-director).

Filmes já exibidos na Mostra:

Born 1924 in Tottori, Japan. In 1943, joined Toho as a production assistant, but soon after was recruited into military service. After the war, he was reinstated at Toho, serving as assistant director to Taniguchi Senkichi, Makino Masahiro, Naruse Mikio among others. In 1958, made his directorial debut with All About Marriage and in 1959 directed the successful Desperado Outpost. Demonstrated a talent for mass-producing entertainment films. Nikudan was produced by ATG (Art Theater Guild) in 1968. Established Kihachi Productions in 1974 where he continued to create enjoyable, high quality works such as Dixieland Daimyo (86) and Rainbow Kids (91). Consistently made every effort to criticize the war, Consistently backed by his personal experiences. Died at 81, on February 19, 2005, leaving a body of 39 works. His humor-filled stories, rhythmical tempo, original camera work and other idiosyncrasies are called the Kihachi Touch, which continues to fascinate many of his fans. THE “KIHACHI TOUCH” AND THE CENTENNIAL OF JAPANESE IMMIGRATION Japan of thousands of years becomes one hundred years old in Brazil. To celebrate the Centennial of Japanese Immigration, Mostra’s choice of films by Master Kihachi Okamoto (1924 - 2005) was not mere chance. Okamoto is the symbol of a golden age of Japanese cinema built up almost anonymously by altruistic talent, without the concept of authorship later common to the first generation of filmmaker critics of the French Cahiers du Cinéma. His films were intended to be shown in Japanese colony cinemas in São Paulo, without attracting the attention of the critics. Following orders from his studio, Okamoto adapted to every kind of film. A revision of his work enhances our esteem for his films with evidence from his exemplary personality that left a touch of beauty, even in unfavorable conditions, in the whirl of interests of the film studios. Just as in the life of the great studios, Okamoto’s history much resembles that of the Japanese immigrants to Brazil, especially to São Paulo - stories of altruistic pioneers that only time will uncover and that we can then admire. Kihachi Okamoto is a great filmmaker redeemed for later acknowledgment by generations of film lovers with films now raised to the category of masterpieces. In this retrospective, we will have the rare opportunity to witness Okamoto’s extraordinary qualities as a filmmaker who was at ease moving through all of the genera of Japanese cinema. Bruce Eder, American critic and a great connoisseur of Japanese cinema says that “If Kurosawa is the John Ford of samurai films, Okamoto is the Samuel Fuller of this genera”. And Susan Sontag went as far as to classify Okamoto, Akira Kurosawa and Kon Ichikawa under the same “fundamentally epic concept of cinema”. These observations are in the Cahiers du Cinéma España of April 2008 in an article by Roberto Cueto, on the occasion of the retrospective presented by Cinemateca Espanhola. Okamoto made classics both of his samurai and his gangster films, not only on the subject of the war that left its mark on him, but on the scene post-war, in a Japan rapidly adapting to conflictive modernity imposed by the victorious west. A great admirer of John Ford, he inserted his references to conflict in westerns in almost all of his films. In Desperate Outpost, for instance, of 1959, Okamoto transposed the elements of a western to the Manchurian front, right in the midst of World War II. He was a student of Meiji University and production assistant at the Toho studios when he came face to face with the horrors of war as a recruit at the age of 19, assigned to naval battles in the South Pacific in 1943. Enthralled as he was by cinema, his passion for American films and French comedies broke off temporarily. “It was a miracle I survived the war, since statistics show that the greater incidence of casualties were among those who, like myself, were born in 1924”, he later stated in an interview with American professor and writer Peter B. High. Marked as he was by the horrors of war, he is among the post-war authors of Japanese cinema including Yasuzo Masamura, Masaki Kobayashi, Kenji Misumi, and Seijun Suzuki (the 23rd Mostra paid Suzuki tribute with a retrospective). Once the war was over, Okamoto went back to the Toho studios in 1947, this time as assistant director to Senkichi Taniguchi, Masahiro Makino, Mikio Naruse, and Ishiro Honda. Almost ten years were to pass before the opportunity arose, in 1958, to direct his first feature All About Marriage. Just as in Ozu classics, a comedy of manners is a pretext to make of the film an excellent portrait of the times with all of the yearning and disquiet of his generation. His prestige in the studio was established with films subsequently on the underworld, the film noir and musical genera, on human conflict, the war and, invariably, to a remarkable extent, on samurai sagas. Two actors especially - Tatsuya Nakadai and Toshiro Mifune - contributed to promote his prestige as a filmmaker. With humor unique, control over time, camera moves and other idiosyncrasies true to Japanese descendants, he now fascinates scores of admirers worldwide who in these, his attributes, can identify the unmistakable “Kihachi Touch”. Confident as to this same touch, he founded his own film company, Kihachi Productions in 1974. He died in 2005 at the age of 81 and left a total of 39 films - mostly yet to be known. The Okamoto Retrospective is being presented in São Paulo in collaboration with Tokyo Filmex, Toho, The National Museum of Modern Art Tokyo, The Japan Foundation Film Library Tokyo, Fundação Japão de São Paulo, National Film Center Tokyo, Cinemateca Brasileira, and Minako Okamoto producers. Minako Okamoto is Kihachi Okamoto’s widow. Leon Cakoff

Filmes já exibidos na Mostra:

Born in 1933, in Fukui, Japan. He studied French Literature and, in 1955, joined Shochiku producers as Assistant Director to Keisuke Kinoshita. He directed his first film in 1960 with Good-for-Nothing. He was first noticed by the critics in 1962, with An Affair at Akitsu, A Story Written with Water (1965), The Affair (1967), Eros + Massacre (1969) and Heroic Purgatory (1970), dealing with political and sexual themes. Yoshida always refused interference with his work and, after he filmed Coup D’Etat (1973), he made documentaries for TV and for the cinema. He went back to fiction in 1986, with A Promise, followed by Wuthering Heights (1988), an adaptation of the novel by the same name by Emily Brontë. Women at the Mirror (2002), his last film, is programmed for the 27th Mostra.

Filmes já exibidos na Mostra:

43ª MOSTRA INTERNACIONAL DE CINEMA

43ª MOSTRA INTERNACIONAL DE CINEMA