When Brazil devoured cinema
During this period (1960s- and 70s) cinematographic creation would explore and promote different ways of seeing and doing, which would be translated onto the screen not just on the formal level, but also through the ways of narrating and putting images to the conflicts, contradictions and difficulties of Brazilian society at the time; completely submerged in an iron-fist military dictatorship that did away with the reformist hopes and revolutionary ideals of previous years.
More specifically, it can even be said that, in harmony with the rich the visual arts, music, theatre and poetry other spheres of creation and productive strategies of synthesis unfolded and were translated with great lucidity into the thinking of Hélio Oiticica about experimentation, invention and group participation or into the tropical revision of the theory of cultural anthropophagy, which gave rise to one of the most intense and creative moments ever in Brazilian art and film, a continuation of the contributions of Cinema Novo and Eztetyca da Fome (1965) by Glauber Rocha.
This program takes a look at these manifestations, including five feature-length fiction films that are introduced by a group of experimental shorts by artists and poets. The last session is dedicated to two experimental documentaries that turned out to be metaphors for the silence imposed by the dictatorship.
Program
Session 1. Experimentar lo experimental [Experiencing the experimental]
Friday, 30th of September
Glauber Rocha. O Patio, 1959. Original format: 16 mm.; screening format: DVD, B/W, 3' 22''.
Hélio Oiticica. Agripina é Roma-Manhattan, 1972. Original format: Super 8; screening format: DVD, colour, silent, 15' 3''. Courtesy of Projeto Hélio Oiticica, Río de Janeiro.
Neville d’Almeida. Jardim de Guerra, 1968. Original format: Super 8; screening format: DVD, B/W, original language with Spanish subtitles,100'.
Session 2. La cultura fuera de la ley [Outlaw culture]
Monday, 3rd of October
Antonio Manuel. By Antonio, 1972. Original format: 16 mm; screening format: DVD, B/W, original language with Spanish subtitles, 3'.
Antonio Manuel. Loucura-Cultura, 1973. Original format: 35 mm; screening format: DVD, B/W, original language with Spanish subtitles, 9'.
Rogerio Sganzerla.O Bandido da Luz Vermelha, 1968. Original format: 35 mm; screening format: DVD, B/W, original language with Spanish subtitles, 92'.
Session 3. El delirio como réplica [Delirium as a retort]
Thursday, 6th of October
Carlos Zílio. Mamãe fiz um super-8 nas calças, 1974. Original format: Super 8; screening format: DVD, colour, 1'.
Paulo Bruscky. Poema, 1979. Original format: Super 8; screening format: DVD, colour, 2'. Cortesy Nara Roesler Gallery.
José Agrippino de Paula. Hitler 3ª Mundo, 1968. Original format: 16 mm; screening format: DVD, B/W, original language with Spanish subtitles, 90'.
Session 4. Cinema or experience? Both and neither
Viernes 7 de Octubre
Raymundo Amado. Apocalipopótese, 1968. Original format: 35 mm; screening format: DVD, colour, original language with Spanish subtitles, 10'.
Glauber Rocha. Câncer, 1968/72. Original format: 16 mm; screening format: DVD, B/W, original language with Spanish subtitles, 86'.
Session 5. Gestos al margen [Gestures on the edge]
Monday, 10th of October
Guilherme Vaz. Music for Paper Sheet, 1973. Original format: Betacam; screening format: DVD, B/W, original version with Spanish subtitles, 1' 30''.
Ozualdo R. Candeias. A Margem, 1967. Original format: 16 mm.; screening format: DVD, B/W, original language with Spanish subtitles, 96'.
Session 6. Metáforas del silencio [Metaphors for silence]
Thursday, 13th of October
Sérgio Muniz. Você também pode dar um presunto legal, 1970-71/2006. Original format: 16 mm.; screening format: DVD, B/W, original language with Spanish subtitles, 42'.
Eduardo Coutinho. Cabra Marcado Para Morrer, 1964/1984. Original format: 35 mm.; screening format: DVD, colour, original language with Spanish subtitles, 119'.
