Arabia (2017), by Affonso Uchôa and João Dumans. Photo: Disclosure.
Arabia (2017), by Affonso Uchôa and João Dumans. Photo: Disclosure.

Auntil April 30th it is possible to choose between 75 films (43 feature films and 28 short films) to watch for free on the website of the Festival Cinema Brasileiro: Anos 2010, 10 gazes, which is now in its third edition. It started in 2001 (with a retrospective on 1990s cinema) and continued in 2011 (with 2000s cinema). The project, conceived by the curator Eduardo Valente, seeks to rescue a significant part of the national filmography of the last decade, which had a multiple production. As its name implies, the festival is divided into ten looks from ten different curators. Check out the selection of each feature below:

Waterfall Doc: Flowing into cinema: retaking invaded territories

“The movement observed in the outline drawn by the films assembled, in this segment, before dividing, is flowing: confluence against borders erected by invasions and expropriations – of lands, bodies, peoples, lives, imaginaries –, borders planted in the name of a Brazil above of all. It is, therefore, a cinema against the Nation, and not a national cinema, that we are dealing with here, through this small collection of documentary films that have emerged in this last decade, and brought together by subtle flows of connection. If documentary is the cinema that takes on the task of pushing the frontiers of the visible, these features and shorts launch themselves into geographies – of time and space –, in operations of recovery: of the body and desire, of cities, of images, history and the land”.

 

long: 

Martyrdom, by Vincent Carelli
Identification portraits, by Anita Leandro
Resurgents: a direct action movie, by Dacia Ibiapina
The city is one, by Adirley Queiros.

Image from the film "Portraits of Identification", by Anita Leandro. Photo: Disclosure.
Image from the film “Portraits of Identification”, by Anita Leandro. Photo: Disclosure.
Carol Almeida: The city and the occupied gaps

“The Brazilian cinema produced during the 2010s was very attentive to questions about the right to the city, and made this debate move in image from very different films in their formal proposals. Thinking more specifically about some queer bodies that more emphatically refuse to adapt to the segregation architecture of large urban projects and what spaces of existence these bodies manage to create, the clipping 'The city and the occupied gaps' adds films that seek to , by a gesture of refusal, a model of life of some cities and simultaneously of fabulation and creation of desire inside the cracks that appear in the concrete blocks”.

long:

This love that consumes us, by Allan Ribeiro and Douglas Soares
New Dubai, by Gustavo Vinagre
batguano, by Tavinho Teixeira
Fear Iê, by Elena Meirelles and Lívia de Paiva

Cleber Eduardo: Concrete spaces of lives in cinema

“This segment emphasizes a strength of a group of films from the last decade and a half that connects their characters' ways of life with the geographic/social spaces of their experiences, amalgamating the lives of people off screen and characters on screen. , without ceasing to have play and creation for films, re-elaboration of everyday life within life in cinema, tensioning the authenticity of bodies, spaces and speech with cinematographic elaboration, without having to sign a pact with fiction or documentary, quite the opposite".

long: 

The Tiger Neighborhood, by Affonso Uchôa
Baroness, by Juliana Antunes
Tell her you saw me cry, by Maira Buhler
a summer movie, by Jo Serfaty

Erly Vieira Jr: From body to body – overflowing characters, desiring spectatorXs

“This set of films explores some of the different strategies of sensory engagement that part of the Brazilian LGBT+ production of the last decade uses to speak directly to the spectators' bodies. From the choreographic/performance dimension present in mise-en-scène, to the use of a 'haptic' visuality (which refers to the tactile), promoted by a camera that often functions as a body that is also affected by what it records. . The dialogue between different audiovisual genres and hybrids with other contemporary languages ​​can also be included here, as well as ways of exploring the not always conciliatory relationships between dissident bodies in terms of gender and sexuality and the spaces they inhabit”.

long: 

Electric Body, by Marcelo Caetano
Future beach, by Karim Ainouz
the good manners, by Juliana Rojas and Marco Dutra
My name is Baghdad, by Caru Alves de Souza.

Still from "Beach of the Future", by Karim Ainouz. Photo: Disclosure.
Still from “Praia do Futuro”, by Karim Ainouz. Photo: Disclosure.
Heitor Augusto: The body, again

“Recognizing the exponential growth of non-white filmmakers in Brazilian cinema over the last decade, this clipping proposes a seam in which the body, particularly the black, is a presence. This segment brings together four films by black directors, two co-directed by black people and one by a non-white director. In addition to bringing eight films to a more detailed place of appreciation, this clipping also carries the intention that the films shown here facilitate the approach to many others who may not be part of this program”.

long: 

let's make a toast, by Sabrina Rosa and Cavi Borges
low center, by Ewerton Belico and Samuel Marotta
the battle of the step, by Emilio Domingos
a dance movieby Carmen Luz

Janaína Oliveira: Singular daily life

“In the last decade, the national cinema scene witnessed the emergence of other subjects in front and behind the screens telling their stories. In these displacements of meanings between centers and margins that this emergence provides, we see the emergence of works that break with expectations of representations already crystallized in our imagination. Films with other possible repertoires for everyday life. The segment brings a set of films that dialogue with everyday life in what is unique, but affectively and effectively common”.

long: 

She comes back on Thursday, by André Novais Oliveira
coffee with cinnamon, by Ary Rosa and Glenda Nicácio
Arabia, by Affonso Uchôa, João Dumans
Home, by Letícia Simões

Kênia Freitas: Fabular Movements 

“This segment is based on two basic aspects in its proposal of looking at the films of the 2010s. The first is the idea of ​​movement (dance/gesture/performance) as a creator of fabulation in films. The second aspect is to think about an inflection of the decade situated in 2015 (as a symbolic time frame): the movement of a cinema (and critical reception) with lines of force more based on realistic/naturalist staging and universal/totalizing perspectives for a cinema more open to speculative//experimental possibilities and often marked by localized self-inscription”.

long: 

what moves, by Caetano Gotardo
Brazil S/A, by Marcelo Pedroso
Yãmîyhex: The Spirit Women, by Sueli Maxakali and Isael Maxakali
Meat vacancy, by Grace Passô and Ricardo Alves Jr.

Leonardo Bonfim: Once upon a time, once upon a time…

“The main focus here is to think about how a striking feature of contemporary cinema – the idea that a film can start over during the projection – has been approached by Brazilian feature films in the last decade. Within this framework, we will put into dialogue works that unfold into two or more parts, in a game of variations and metamorphoses, and works that venture the possibility of coexistence – not always peaceful – of many films within the same film”.

long: 

The city and the pirates, by Otto Guerra
Boy, by Julio Bressane
the days with him, by Maria Clara Escobar
Anthony one two three, by Leonardo Mouramateus
light in the tropics, Paula Gaitan.

Still from "The days with him", by Maria Clara Escobar. Photo: Disclosure.
Still from “The days with him”, by Maria Clara Escobar. Photo: Disclosure.
Pedro Azevedo: The world in disenchantment

“The initial criterion to define this cut was territorial. It is about delving into the production of the Northeast and Ceará of the 2010s, understanding it as a very expressive part of contemporary Brazilian cinematography, which has been gaining more and more space for exhibition and debate in the circuit of national and international festivals, in addition to infiltrating progressively in the exhibition circuit of commercial rooms. It is not, however, about reaffirming the strength of the cinema produced in the Northeast as a gesture devoid of meaning, doomed to the sterility of good intentions, but to propose a free way of access to films by Northeastern artists that, when thought, exhibited, watched together, they can translate a series of complex ideas about issues that cross and transcend the experience of being Northeastern in a Brazil whose borders point to the formation of a nation-state that is designed as pure fiction”.

long: 

Fear of the dark, by Ivo Lopes Araújo
Hellraiser, by Guto Parente and Pedro Diógenes
the sect, André Antonio
sun joy, Tavinho Teixeira, Mariah Teixeira
Corner of Bones, by Jorge Polo and Petrus de Bairros

Rafael Parrode: Deviations from the contemporary

“As we move through the wreckage and ruins of a recent past, it is also necessary to start with a self-criticism, seeking to understand to what extent Brazilian cinema has adapted to styles, production and diffusion models, and to what extent the bond will remain standing in the face of the chaos that asserts. From this perspective, to what extent will we be hostages instead of operators of new emerging aesthetics, unlinked from a desire to adapt Brazilian cinema? The past decade has seen many films that conform to an international standard. These are films that can be easily fitted into the totalizing keys or trends of world cinema. This is not about imposing an idea of ​​'novelty', but about tensioning new forms from this historical framework. Investigating these forms of cinema that now belong to the past is also a way of understanding the constraints and confrontations that we need to deal with today”.

long: 

never seen, never seen, by Andrea Tonacci
Tava, the stone house, by Vicent Carelli, Patricia Ferrreira (Keretxu), Ariel Duarte Ortega, Ernesto Ignacio de Carvalho
Red, by Getúlio Ribeiro
Paraguay War, by Luiz Rosenberg Filho
abortion movie, by Lincoln Pericles.

Between on this link to watch.

READ MORE: The Last Forest, a documentary written by Luiz Bolognesi and indigenous leader Davi Kopenawa, goes beyond the pure ethnographic portrait trying to incorporate the poetics of the Yanomami. The film was responsible for closing this year's É Tudo Verdade Festival and will soon premiere in Brazil.

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