Directors

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Filmes já exibidos na Mostra:

Born in Abéché, Chad, in 1960. In 1982, he moved to Paris to begin his career as a journalist and filmmaker. He studied film at the Conservatoire Libre du Cinéma Français and journalism at Bordeaux. Haroun worked as a journalist before directing his debut short film, Maral Tanié (1994). His first feature, Bye-Bye Africa (1999), was awarded best first feature at the Venice Festival. He has also directed Our Father (2002) and Dry Season (2006, 31st Mostra), winner of the Special Jury Prize at the Venice Festival. His fourth feature, A Screaming Man (2010), was awarded Special Jury Prize in Cannes. The film was also presented at the 34th Mostra, which honored the director with a Humanity Award in recognition of his political and aesthetic struggle for his country’s cinema. Until early 2011, Chad had no functioning theatres. Thanks to the director’s pressure and prestige, the government restored Normandie, an old cinema that was reopened in the capital N’Djamena. He was also a member of the International Jury at the 35th Mostra.

Filmes já exibidos na Mostra:

Joris Ivens nasceu em 1898, em Nimege, na Holanda. Seu pai tinha uma loja de aparelhos fotográficos que, pouco a pouco, se transformou num importante entreposto das novidades da fotografia e do cinema, com o nome de Capi (iniciais do nome do pai de Joris: Cornélius, Adrian, Peter, Ivens). Graças a essa convivência, o jovem Joris estréia no cinema com a idade de 13 anos, dirigindo o seu primeiro curta "A Flecha Ardente", com toda família vestida de índio. Sua carreira de cineasta se intensificou com os movimentos de vanguarda nos anos 30 e logo se tornou o grande nome entre todos os documenteristas da história do cinema. Joris Ivens realizou mais de 60 filmes nos quatro cantos do mundo, registrando guerras, culturas e revoluções a luta do homem contra a natureza, injustiças e belezas. O seu cinema é um legado para a humanidade. Ivens morreu em junho de 1989 deixando "História do Vento", co-dirigido com sua mulher Marceline Loridan, como último testamento. Este filme destacou-se na seleção da 13ª Mostra e volta na 15ª como parte da homenagem prestada a Joris Ivens, com a participação de Marceline Loridan.

Filmes já exibidos na Mostra:

Birth name Marat Bejshemekov Date of birth (location)1957,Talas, Soviet Union [now Kyrgyzstan]Place of birth: Talas, Kyrgyz RepublicDate of birth: 26/09/1957Education: Department of Philology, Kyrgyz National University, Bishkek, Kyrgyzstan, 1980 Cinema Academy, Moscow, 1984Professional experience: Author of scripts:· “Face to Face”, Film Studio Kyrgyzfilm, 1991 · “Show-Storm Railway Halt”, Film Studio Kazakhfilm, 1994· “Hunter’s Family”, Film Studio Kazakhfilm, 1994· “Milky Way”, Film Studio Kyrgyzfilm, 1996· “Beshkempir”, Kyrgyzfilm-France, 1998Directed films:· “Praying for the Virgin Bird (animation film), 1989”· “IN SPE”, feature film (Kazakhstan), 1993· “Mandala”, documentary film, 1998· “My Brother Silk Road” (?ltyn Kyrghol), feature film, (Kazakhstan- Kyrgyzstan), 2001· “The Fly up” (Ergÿ), short film, (Kazakhstan-Kyrgyzstan), 2002Professional affiliation: Member of Confederation of Unions of Film Makers of NIS (Newly Independent States). Live and work in Bishkek, Kyrgyzstan

Filmes já exibidos na Mostra:

Marc Gracie was born in Australia, in 1960. Director, producer, writer and an actor. In the early 1990’s, Marc directed a number of TV movies and features including the drama Jigsaw and the suspense feature film Crimetime. Directing and Producing Jimeoin and Full Frontal. In the late 90’s Marc made the cult sitcom The Adventures of Lano and Woodley and then the cinema box office hit The Craic. In the late 90’s, Marc re-invent the tired Full Frontal sketch format for the Ten Network. Originally commissioned for 11 episodes Marc as Executive Producer and Director managed to extend the series, re-titled Totally Full Frontal to 35 episodes. Marc created and directed both Sit Down Shut Up and Shock Jock. In the new millennium Marc continued directing a number of an award winning feature films including Takeaway, teen comedy You and Your Stupid Mate.

Filmes já exibidos na Mostra:

Born in Karlsruhe in 1977. After working as a trainee graphic designer and advertising copy writer as well as on various film productions in Berlin and Hanover, he took up studies in documentary filmmaking at Baden-Württemberg Film Academy. One Who Set Forth is his graduation film. 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:

GABRIEL MASCARO Born in Recife in 1983, he majored in social communication in 2006 by the University of Pernambuco. He began his professional trajectory as author with work in video art and new media, and showed his films at the Athens International Video Art Festival (Greece) and Cartes Flux (Finland). He directed short films - Gaiola, Ao Norte, Morro, and a medium-length film, Galo da Madrugada. The Beetle KFZ-1348 is his first feature film. He collaborated as assistant director and script researcher for Marcelo Gomes and Cláudio Assis. MARCELO PEDROSO Born in Recife in 1979. A journalist, he graduated from the Pernambuco Federal University in 2004 and, for some years, was editor of the Jornal do Commercio. He has directed and written the script for various short films.

Filmes já exibidos na Mostra:

Edu Mansur – He is a theater and television director as well as a producer and a journalist. He began his career in TV as Walter Avancini’s assistant director at the now-defunct TV Manchete. Soon afterwards, he moved to Globosat, working on channels such as Multishow, Futura, and Canal Brasil. He has directed special programs for TV Globo. He organizes concerts, formats and directs interview programs, variety shows, and special programs for TV. Marco Mazzola - He is one of Brazil’s most important music producers. He has recorded with artists such as Gal Costa, Milton Nascimento, Ney Matogrosso, Gilberto Gil, Chico Buarque and Caetano Veloso, among others. He has also worked with international artists, such as Paul Simon and Quincy Jones, and co-produced a track by Frank Sinatra on one of his last albums, in 1993. He set up the Brazilian Night at the Montreux Jazz Festival and is part of the Academy for the Latin Grammy Awards. He is the owner of MZA Music record label, responsible for artists such as Zeca Baleiro, João Bosco and Martinho da Vila.

Filmes já exibidos na Mostra:

Born in Lisbon, Portugal in 1965. She began her acting career in 1982 in Silvestre (27th Mostra), by João César Monteiro. She participated in dozens of productions in Portugal, Spain, France and the United States. In her country, she worked with the most important Portuguese filmmakers such as Manoel de Oliveira, in The Divine Comedy (1991, 15th Mostra). In 1994, she won the Volpi Cup for best actress at the Venice Film Festival with Two Brothers, My Sister (1994, 18th Mostra), directed by Teresa Villaverde. Made her directorial debut with The Death of the Prince (1991, 16th Mostra). Also directed the film April Captains (2000), Jury Award for best picture at the 24th Mostra; the documentary Je T’aime, Moi Non Plus (2004, 28th Mostra); a segment of Welcome to São Paulo (2004) and a segment of Invisible World (2012, 36th Mostra), both films produced by Mostra. She was a member of the jury of the 18th Mostra in 1994.

Filmes já exibidos na Mostra:

Love Life is her directing debut. With Laila Stieler she co-wrote the screenplay for the film version of the bestselling novel by Zeruya Shalev. She who was born in Hanover and made her acting debut in 1983 at the Hanover Staatstheater. The same year she started her actor training at Max Reinhardt Seminary Drama School in Vienna and moved to Berlin three years later. With director Dani Levy, she co-wrote the screenplay for his comedy Robbykallepaul and took on her first film role in this film. In 1992, she received the Max Ophüls Award for her second co-operation with Dani Levy, I Was on Mars. Among the films that followed were Flirt (1994), by Hal Hartley, Silent Night (1996), by Dani Levy, The Giraffe (1998), co-directed with Dani Levy, The Tulse Luper Suitcases (2003), by Peter Greenaway, and Women of Rosenstrasse (2003), by Margarete von Trotta.

Filmes já exibidos na Mostra:

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:

Bom in Italy in 1915. Between the 1930s and the 1940s he worked as an assistant director and screenwriter. Established an important partnership with Steno, with whom he directed films such as A Dog’s Life (1950) and Toto Looks for an Apartment (1949). With Forbidden (1954) he started directing films by himself and became a fundamental name of commedia all`italiana. His extensive filmography includes films such as The Great War (1959), winner of the Golden Lion at the Venice Film Festival; The Passionate Thief (1960); The Organizer (1963); My Friends (1975); The Two Lives of Mattia Pascal (1985); Dearest Relatives, Poisonous Relations (1992, 17th Mostra) and Looking for Paradise (1995, 20th Mostra). His film An Average Little Man (1977) was shown in the retrospective of political Italian cinema at the 30th Mostra, in 2006. Died in Rome in 2010 at the age of 95.

Filmes já exibidos na Mostra:

Born in Marseilles in 1949, she acted in films by Agnés Varda and Luis Buñuel. In 1977, she started a producing company and made a short film, Équilibres. The first feature she directed in 1982 was The Bed, followed by Dust (1984, 12th Mostra), awarded at the Venice Festival. She has also directed Les Noces Barbares (1987, 12th Mostra), The Maestro (1989, 14th Mostra), Between Heaven and Earth (1991, 16th Mostra) and Between the Devil and the Deep Blue Sea (1995, 19th Mostra). In 1999, she was part of the International Jury of the 23rd Mostra, where her film The Quarry was shown. At 25th Mostra, her Clouds (2001) has been shown with No Man’s Land, by Danis Tanovic, which she co-produced. She has also directed Sounds of Sand (2006, 31st Mostra) and Black Ocean (2010, 34th Mostra).

Filmes já exibidos na Mostra:

Maris Martinsons (born July 25th, 1960 in Latvia) is film director, screenwriter and producer. After graduating Latvia Conservatoires in 1989 as “drama theatre director” he worked together with Latvian musicians as an independent director/producer for music video clips. His first music video clip This is my car (by band “Jumprava”) was the first independent video in Latvia’s music/audiovisual history and it’s got the best clip’s award in 1989/1990. Since 1991 Maris lives in Lithuania, where together with a partner he founded production company “ARTeta” (1994). During these years company has grown as one of the leading production companies and the biggest studio complex. In 2006 Maris finally wrote a script for the arthouse movie Loss. In January, 2008 film was released in Lithuania. In June, 2008 film has been selected in the Official Competition of the 11th Shanghai International Film Festival and it was awarded with 2 prizes: Best Director and Best Music.

Filmes já exibidos na Mostra:

Nascido em 1941, Mark Rappaport é cinéfilo desde a infância. Começou a trabalhar no cinema como editor, enquanto financiava e dirigia seus próprios curtas-metragens. Com seu primeiro longa, Casual Relations, de 1973, foi incluído pela imprensa especializada no rol dos cineastas experimentais. Mas colocou-se fora da ortodoxa vanguarda americana com Mozart in Love, realizado em 1975. Três anos depois usou árias de Orfeu, de Gluck, para ilustrar o amor de duas mulheres pelo mesmo homem, em Scenic Route. Em 1990, trabalhando com vídeo, fez Postcards, com uma dimensão analítica e paródica muito próxima do estilo de Histórias do Cinema, de Godard. Nessa mesma linha fez, dois anos depois, Os Filmes "Secretos" de Rock Hudson(seleção da 18ªMostra), expondo o contraste entre a figura pública do ator e sua vida privada.

Filmes já exibidos na Mostra:

MARTIN FARKAS Born in 1964, Farkas worked on several documentaries in Asia, South America, Africa and Europe after his graduation from secondary school. After that, he studied the social sciences with a concentration on sociology and psychology and worked as a gaffer. He directed award-winning video art and commercials. Since 1994 he has done the camera work for feature documentaries and films which are shown around the world at film festivals and have won international prizes. As a cameraman, he has worked on many TV movies and miniseries. He was part of the 24th Mostra as a cinematographer of Ra’anan Alexandrowicz’s film Martin (1999). MATTHIAS ZUBER Director and producer, born in 1965. Graduated from the German School of Journalism in 1998. He founded polyeides medienkontor in 1999. Since then he has been working as a freelance writer for Stern, die Zeit, and Süddeutsche Zeitung, amongst others. In the area of broadcasting he has created several long features for radio stations. He has worked freelance as a writer, director, camera operator, cutter and producer television. In 2000, he was co-writer of the movie-documentary A Woman and a Half, about Hildegard Knef. As a tutor, he teaches at the German School of Journalism.

Filmes já exibidos na Mostra:

Ricardo Darín - He was born in 1957, in Buenos Aires. His parents were actors. He acted for several years in TV series, such as “Alta Comedia” and “Estación Retiro”. One of his most important roles in a feature during this period was in Perdido por Perdido (1993), Alberto Lecchi’s debut as a film director. Then he played in features like The Lighthouse (1998), Same Love, Same Rain, selected for the 27th Mostra, and Nine Queens (2000). In 2001, he played in Son of the Bride, followed by Kamchatka (2002), Moon of Avellaneda, which participated at the 29th Mostra, as well as The Aura, and XXY (2007), by Lucía Puenzo, selected for the 31st Mostra. La Señal is his first feature as filmmaker. Martín Hodara - Born in 1967, he works in Advertising. His first experience in movies was with the short Alicia (1987), written, directed and produced by him, as well as the following short Estare Esperando (1991). He was assistant-director in features like The Lighthouse (1998), by Eduardo Mignogna, Nine Queens (2000) and The Aura, by Fabián Bielinski, selected for the 29th Mostra. La Señal is his first feature.

Filmes já exibidos na Mostra:

Alberto Piccinini - Journalist and scriptwriter for TV. He wrote programs for MTV Italia and contributed with editorials for Il Manifesto, the daily newspaper for which he writes on a regular basis about football. He wrote books, Fratellini d`Italia, Ambra, brand:new, and Figu Mundial. He was co-author for the script for the comedy Tutti all`Attacco (2005), by Lorenzo Vignolo. Giovanni Giommi - Born in Milan, in 1965. He majored in architecture and later attended the Civic Cinema School of Milan, working also with video-art. In 1997, he began work with television channels Tele+ and MTV Itália, as producer and director. He wrote and directed the documentaries Sol y Sombra (1997), Nel Cuore delle Alghe e dei Coralli - I Cento Passi di Peppino Impastato (1999), a medium-length film Béisbol (2000), Nice! (2003), and Frames - Variazioni per Catena di Montaggio (2004). Massimo Coppola - Born in Salerno, in 1972. He wrote and directed La Regola del Contemporaneamente (2001) and Me Fella (2005). He wrote, directed and presented a series of documentaries Avere Ventanni, of 2005, on Italian youth in the Berlusconi era. He is also an actor as in Lavorare con Lentezza (2004), by Guido Chiesa.

Filmes já exibidos na Mostra:

Born on December 10, 1972, in Tehran, Iran. Scriptwriter, director, and producer, he majored in photography and cinema at the IYC (Iranian Young Cinema Society). He studied at Nuova Universitá del Cinema e della Televisione, in Rome, Italy. He wrote and produced episodes of the series Voyage of Oil, for Sahar TV, in 1997. He wrote, directed and produced documentaries as short films such as A Short Report (1998), Identification of a Woman (1999, Prize from the Public at the 2002 Evry Film Festival), Cinecittá (2000, Best Documentary at the Teheran International Film Festival and by the Iranian critics, both in 2000). Praying for the Rain (2000, Best Documentary at the 2004 Rumanian Eco-Etno-Folk Film Festival), Sayat Nova (2000), Hi Tokyo (2001), When Behrang Meets Ayumi (2001), and Lost Windows (2002).

Filmes já exibidos na Mostra:

Michael Winterbottom - Born in 1961, in Blackburn, England. He established an eclectic filmography. In cinema, his first film was a thriller, Butterfly’s Kiss (1995). He was part of the selection for the 22nd Mostra with Welcome to Saravejo (1997). He was part of the 26th Mostra with 24 Hour Party People (2002, Best Production according to the British Independent Film Award). He also went from political drama (In This World, of 2002, Golden Bear at the Berlin Film Festival) to science fiction (Code 46, of 2003, Prize for Script and Soundtrack, in addition to the Grand Prize of European Fantasy Film, in Sitges - The Catalonian Film Festival) and on to musical eroticism (9 Songs, of 2004, Prize for Photography at the San Sebastián Film Festival). Mat Whitecross - He has collaborated with Michael Winterbottom since In This World (2002), where he was production assistant. He edited 9 Songs (2004) and The Road to Guantanamo, his first film as co-director. He produced and was assistant director for a short film A Ticket Too Far (2006).

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Y. David Chung - He was born in Germany, 1959. Chung began his career collaborating as an artist on documentary films. His credits include Surveillance, No Place to Hide (HBO), American Journey (PBS), Gardens of Paradise (PBS), The Forgotten People (PBS), Soldiers in Hiding (HBO) and Peace on Borrowed Time (ABC). He directed Turtle Boat Head. Chung is associate professor with the School of Art and Design and the Korean Studies Program at the University of Michigan. Matt Dibble - He was born in USA, in 1959, has worked for over 20 years as a documentary filmmaker. His credits include public television specials: The Mystery of Chaco Canyon (co-writer, editor), Rising Waters: Global Warming and Fate of the South Pacific Islands (editor), Forsaken Cries: the Story of Rwanda (editor), and Expedition Alerce: Lost Forest of the Andes (camera, editor). He also creates video media for museum exhibitions and has just completed a four screen installation for the new Holocaust and Human Rights Center in Augusta, Maine, USA.

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Filmmaker, Ogens has worked on a variety of projects ranging from longformat episodic to commercials. Ogens directed the series Timeless for ESPN. For ESPN’s prime time series, The Life, he directed and produced episodes documenting the real life experiences of some of the top personalities in sports, including an episode chronicling the Angola Prison Rodeo. His interest in stylistic filmmaking kicked off with a fashion and beauty assignment from CBS, where he directed sequences of The Victoria’s Secret Fashion Show. For VH1, Ogens directed the pilot, PLAYERS, profiling hip hop superstar, Ludacris, and his meteoric rise to fame. Following Hurricane Katrina, Ogens spent three weeks as one of a handful of filmmakers brought in by the Red Cross to document the devastation.

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MATHEW KAUFMAN Director and producer, he was born in Mount Kisco, New York, and is a graduate of New York University’s Tisch School of the Arts Film program. He has been producing and directing film and video for over a decade via his New York-based company, Zip Dog Productions. His previous documentary work, Swap Meat (1994), Domestic Differences (1997), and two-part series for TV, The Messengers (2003), have all received critical acclaim. JON HART A veteran journalist, Jon Hart has been published in dozens of newspapers and magazines, including The New York Times, The New York Post, Time Out New York, Maxim, Details and The Village Voice. Hart’s specialty is guerilla journalism, first-person participatory pieces. In the television realm, Hart has written for MTV and ESPN. A native of New York City, Hart graduated from the University of Vermont with a BA in Political Science.

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Joris Ivens nasceu em 1898, em Nimege, na Holanda. Seu pai tinha uma loja de aparelhos fotográficos que, pouco a pouco, se transformou num importante entreposto das novidades da fotografia e do cinema, com o nome de Capi (iniciais do nome do pai de Joris: Cornélius, Adrian, Peter, Ivens). Graças a essa convivência, o jovem Joris estréia no cinema com a idade de 13 anos, dirigindo o seu primeiro curta "A Flecha Ardente", com toda família vestida de índio. Sua carreira de cineasta se intensificou com os movimentos de vanguarda nos anos 30 e logo se tornou o grande nome entre todos os documenteristas da história do cinema. Joris Ivens realizou mais de 60 filmes nos quatro cantos do mundo, registrando guerras, culturas e revoluções; a luta do homem contra a natureza, injustiças e belezas. O seu cinema é um legado para a humanidade. Ivens morreu em junho de 1989 deixando "História do Vento", co-dirigido com sua mulher Marceline Loridan, como último testamento. Este filme destacou-se na seleção da 13ª Mostra e volta na 15ª como parte da homenagem prestada a Joris Ivens, com a participação de Marceline Loridan.

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Born in Helsinki, in 1883 – the son of a musician from the Russian armada, of Jewish origin. From an early age, Mauritz Stiller learned how to sing, to play the violin, speak foreign languages, and to recite Shakespeare and Molière by heart. To get out of the military service in Finland, as yet under domination of the Czar, he ran away to Sweden, a country he adopted as his own. Passionately fond of theater, he began to work as an actor and was part of various groups before meeting future film maker Victor Sjöström, a master in Swedish film. Sjöström and Stiller acted together in numerous short films, some of them lost following the outbreak of fire at the Svenka Bio film producers. Some of his first films were The Black Masks, The Vampire, The Tyrannical Fiancée, The Child, all of these from 1912. His first important film was Love and Journalism (1916), a comedy on a young reporter who finds employment in the house of a polar explorer to get himself a scoop. These were followed by Thomas Graal’s Best Film (1917) and other comedies. In 1920, he made Seduction, a sensual adaptation of a play by Hungarian Ferenc Herczeg, whose extravagance and dandy features rendered him comparable to Ernest Lubistch. Victor Sjöström consolidated his reputation with dramatic adaptations based on Scandinavian literature, and Stiller, likewise, followed along the same path with detailed plots and complex personalities, and made Song of the Scarlet Flower (1919), adapted from the novel by Finnish author Johannes Linnankoski. From Selma Lagerlöf, one of Sjöström`s favorite authors, Stiller extracted The Treasure of Arne (1919), whose sumptuous scenes influenced Sergei Eisenstein in Ivan the Terrible (1942-1946). From the same author, he adapted Gunnar Hede’s Saga (1923) and The Atonement of Gösta Berling (1924), with a revelation, namely, actress Greta Gustafson at the age of 19, later known as Greta Garbo. With the success of the film and of the young actress, Stiller and Garbo were contracted to make The Odalisque from Smolny in Germany

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Um dos comediantes mais populares do atual cinema italiano. É fortemente influenciado pela mímica e gosta de brincar com a linguagem do cinema, da publicidade e do desenho animado, como mostram seus últimos filmes "Ladrões de Sabonete"(88, exibido na 14ª Mostra) e "Volere Volare"(90, 15ª Mostra). Estudou mímica, formou-se em arquitetura na Escola Politécnica de Milão e trabalhou no Piccolo Teatro, na mesma cidade. Em 1974, fundou a cooperativa teatral "Quellidigrock", que também funcionou como uma escola de mímica. Foi diretor de filmes publicitários, além de escrever e atuar como ator em diversos longas, como "Allegro Non Troppo"(76). Escreveu e apresentou vários shows para a TV italiana (RAI), incluindo "Pista", entre 1986 e 1987. Seu primeiro longa-metragem foi "Ratataplan"(79), sucedido por "Ho Fatto Splash"(80), "Domani si Balla"(82) e "Il Bi e Il Ba"(85).

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She majored in cinema and then opted for journalism and contributed to magazines. In 1994, she made Napoli 90, a documentary on the city of Naples, followed by Les Limbes (1998), evoking post-Soviet Russia. In 2001, she directed L’Arpenteur, followed by Le Lac et la Rivière (2002, also a fiction medium-length film. For 12 years, he worked as production director producing short and medium-length films, mainly by Armenian directors, amongst these Arthur Pelechian. In 2001, together with Sarah Petit, he made L`Arpenteur, a film on the subject of the absence of roots and life in a community. Last year, he founded a company, Les Films Hatari, and produced Le Lac et la Rivière, a supplement to L`Arpenteur. Today, he is producing a series of short films entitled Portraits.

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Nasceu em Paris, em 1957. É jornalista e produtor de TV, além de especialista na história de programas televisivos. Realizou diversas produções e especiais para o Canal +. Monstro sagrado e controverso do cinema, Godard é há 40 anos uma personalidade da mídia. Sua presença na TV nunca foi nem será medíocre, banal. Um dos fundadores da Nouvelle Vague nos anos 60, militante e criador nos anos 70 da Politique des Auteurs (na qual o diretor é o único autor na produção de um filme) e teórico da imagem nos anos 80 e 90, ele define a televisão como um mero happening. Isso porque, em sua opinião, "alguma coisa" sempre acontece na TV. Sua participação gera momentos inesquecíveis ou, em outras palavras, a subversão na rotina televisiva. Na opinião de Godard, a TV produz o esquecimento e o cinema, a memória.

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He was born in Ferrara, Italy, in 1912 and passed away in 2007. Michelangelo Antonioni explored the incommunicability in his movies and influenced a whole generation. After working as a journalist and movie critic, he went to work as Roberto Rosselini, Giuseppe de Santis and Michel Carné’s assistant. In 1943 shot the short film Gente del Po. In 1948 he wrote the script for The White Sheik, which was produced four years later. His first feature film was Story of a Love Affair, 1950. Always innovative, he impressed in his films esthetical and narrative experiments, in productions like Blow Up (1967), Zabriskie Point (1969), and The Passenger (1975). In 1980 he directed The Mistery of Oberwald (4th Mostra) and in 1982, Identification of a Woman, with a gap of 13 years without filming due to a strike he suffered. But he still filmed Beyond the Clouds in 1995, exhibited at the 19th Mostra, and one of the segments of Eros (2004).

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Born in Lisbon in 1972, he studied at the School of Theater and Cinema in the Portuguese capital and worked as a film critic for the newspaper “Público”, among others, between 1996 and 2000. In 2012, the 36th Mostra held an early retrospective of his work, exhibiting the award-winning short films Entretanto (1999), Inventário de Natal (2000), Trinta e Um (2002), Kalkitos (2002) and Cântico das Criaturas (2006), and the feature films A Cara que Mereces (2004), This Dear Month of August (2008) —Critic’s Prize at the 32nd Mostra— and Tabu (2012), awarded the Alfred Bauer (for contribution to cinematic language) and Fipresci (international critics) prizes at the Berlin Film Festival. The Mostra also screened the short film Redemption (2013) in its 37th edition.

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Leslie Grief - He was born at July 30th1960 in Hollywood, California. He made his feature film-directing debut with the noir mystery Keys to Tulsa (1997). He created the breakout reality show Gene Simmons Family Jewels and co-directed and executive produced the TV series Walker, Texas Ranger. Greif also executive produced the critically acclaimed documentary Steve McQueen: the Essence of Cool (2005) and directed Funny Money (2006). Mimi Freedman - She was born in Toledo, state of Ohio (USA), in 1961. She got her master’s degree in Film History, Theory and Criticism from UCLA. Since then she has created more than 50 non-fiction films, television specials and series episodes. Brando is her second film for Turner Classic Movies: in 2005 she directed Steve McQueen: the Essence of Cool. Other projects include the awarded Backstory: How Green Was My Valley (2001) and Charlie Sheen: Born To Be Wild.

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A MASTER OF HUMAN RELATIONSHIPS IN POST-WAR JAPAN

Minoru Shibuya was born in Asakusa, Tokyo, on January 2nd, 1907. Relatively unknown outside Japan, his passion for cinema began during his English Literature studies at the University of Keio, in the Japanese capital. He began his cinematic career in 1929 as an unpaid assistant camera operator at the Japanese studio Shochiku, home to directors such as Yasujiro Ozu, Kenji Mizoguchi, Keisuke Kinoshita and Yoji Yamada.

While at Shochiku, Shibuya went on to become assistant director to Mikio Naruse and Gosho Heinosuke, and eventually directed the majority of his 40 plus films between the ’30s and the ’60s. He directed box-office hits and carved out an important role for himself within a Japanese film industry that was not used to comedies. In 1943, he was called up for military service and was sent to the Chinese frontlines, only to return to Japan in April 1946, after the end of the Pacific War.

His more important films deal specifically with the post-World War II period, social dramas and comedies that find a balance between irony and disillusion. According to American film critic Chris Fujiwara, “his countless films about families always doubt the stability of family roles and relationships”. Shibuya’s films depict a Japan pervaded by essentially urban issues, strewn with themes such as the post-war inheritance, the ever-growing generational gap between tradition and modernity, the human relationships dictated by money and social climbing, alcoholism, and the Japanese acceptance of foreign customs.

From this period, highlights include Doctor’s Day Off (Honjitsu kyushin, 1952), an adaptation from the novel by Ibuse Masuji; Modern People (Gendaijin, 1952), which melds together social drama and political corruption; and Righteousness (Seigiha, 1957), based on the novel by Shiga Naoya.

From A Good Man, A Good Day (Kojin kojitsu, 1961) onwards, his careful visual style becomes evident in his visual compositions using GrandScope (the Japanese equivalent of CinemaScope), with films such as The Shrikes (Mozu, 1961) and Drunkard`s Paradise (Yopparai tengoku, 1962). His last film with the Shochiku studio was The Radish and the Carrot (Daikon to ninjin, 1964), a tribute to Ozu, to whom Shibuya used to be an assistant, based on notes from a script by the filmmaker that was left unfinished due to his death the year before. Shibuya, himself influenced by Ozu, became a great influence for future generations: his assistant directors became filmmakers in their own right, such as Shohei Imamura (The Ballad of Narayama, 1983; retrospective during the 21st São Paulo Film Festival, in 1997); and Yoji Yamada (Kyoto Story, 2010, 34th São Paulo Film Festival). Minoru Shibuya died of pneumonia in 1980, at the age of 73.

The 36th São Paulo Film Festival would like to thank the Tokyo FilmEX Festival for their assistance in obtaining copies of the films from the most important creative period of this great filmmaker.

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Nasceu em maio de 1923 em Bengal Oriental - atualmente Bangladesh - e lá viveu até 1940, quando foi para Calcuta para estudar física. Entretanto, interessou-se por gravações e estabeleceu contato com um estúdio de cinema, onde trabalhou como aprendiz por alguns meses, fazendo todo tipo de serviço não criativo até descobrir sua verdadeira vocação no cinema. Nesta época deixou o estúdio e passou o tempo lendo livros sobre a estética dos filmes e escrevendo sobre o tema. Financeiramente, sua condição beirava a pobreza total. Enquanto estudava, Sen aproximou-se do Partido Comunista da Índia (PCI) sem jamais tornar-se um membro oficial. Entre 1943 e 47, nas mais adversas condições políticas, sociais e econômicas do país, Sen foi atraído para um novo movimento cultural iniciado pelo PCI, popularmente conhecido como "Associação de Teatro da Índia Popular". Até 1950, Sen mudou várias vezes como revisor de textos, outras como sub-editor de um desconhecido ou pouco conhecido jornal, de vez em quando dando aulas particulares para jovens estudantes, e quase sempre escrevendo sobre filmes para a seção cultural do PCI. Por volta dessa época, traduziu para o bengali a novela tcheca póstuma "The Cheat", de Carel Capek, além de escrever um livro sobre a vida e a obra de Charles Chaplin.Em 1956, Sen conseguiu um patrocinador para seu primeiro filme que, em suas próprias palavras, `nunca deveria ter sido feito`. Em 1959, Sen rodou seu segundo filme, enfatizando o tema de que a luta indiana pela libertação nacional durante o domínio britânico era inseparável da luta do mundo livre contra o fascismo. A história passava-se em 1933-37, quando a Índia vivia um período difícil com os colonizadores britânicos. Na mesma época em que o Japão militarista atacava a China. O filme foi sucesso financeiro mas, citando Sen novamente, `apenas um meio-sucesso artístico`.Desde então, Sen tem filmes inspirados pelo mundo a sua volta, onde os milhões de habitantes desesperados de seu país, tendo conhecido a humilhação e degradação, lutam continuamente para ter um mundo melhor para viver. Atualmente, Sen faz seus filmes com regularidade, escreve seus próprios roteiros e está sempre em luta fanática para encontrar patrocinadores. Sen está ativamente associado ao Instituto de Cinema da Índia, trabalhando como professor convidado e conselheiro. E consciente dos benefícios mútuos de suas visitas ao Instituto de Cinema onde pode passar aos estudantes sua experiência pessoal e compreensão, além de revigorar-se com a vitalidade deles, impaciência juvenil e mesmo sua arrogância.De acordo com sua recente afirmativa, Sen não se sente envergonhado em usar o cinema como meio de propaganda, desde que os filmes sejam emocionalmente ativos e, desta forma, artisticamente válidos.

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43ª MOSTRA INTERNACIONAL DE CINEMA

43ª MOSTRA INTERNACIONAL DE CINEMA