Camera
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In six decades, Teatro Oficina has done more than revolutionize theatrical language in the country: the aesthetic influence of José Celso Martinez Corrêa's company extends from Tropicalism to the renewal of Brazilian audiovisual languages from the 1960s onwards. The film revisits a story that it involves personalities such as Caetano Veloso, Glauber Rocha, Lina Bo Bardi, Chico Buarque and Zé do Caixão, brings together scenic art, ecology, architecture and sexuality, and mixes art and life in the search for a Brazilian based language.
Through conversations held with fifty four of the most distinguished cinematographers working in Brazil and abroad over the last forty years, the documentary explores the working environment, the new tools and the different styles of the professional who controls the light and the shades behind the camera.
Carlos Eugênio Paz recalls his participation in the armed struggle against the military dictatorship between the 1960s and 1980s. Using the code name “Clemente”, he participated in the National Liberation Alliance and in several urban actions. Through her own testimony and that of her fellow fighters, director Isa Albuquerque builds a portrait of a troubled moment in Brazilian history and of an entire generation that fought for their country's democracy.
Disagreements, incommunicability between people. What is said is not heard, what is heard is not understood. Everything is ambiguous. What appears to be is not, except poetry.
A woman is mesmerized by a mystical sound and from there chaos begins to spread.
An existential profile of primitivist painter Ana Moisés in her atelier in Embu, on the outskirts of São Paulo.
Couple prepare their "great voyage" in all details, not forgetting the flowers, music and luggage.
The city outside and the city within. Inside: a couple starting to grow old. Outside: a city in constant flux - new buildings, a noisy airport, a troubling new neighbor, gossip. Things that never change amid things that change too fast. The fragmented everyday, seen through a lens that's indirect and selective. Rosa and Benjamin: What's absent or left unsaid tells as much as what comes inside a confining frame - what we put off-limits exposes what we take for granted.