“Claris and the Stars”, the first football movie Vinicius Junior as a producer, and the “Amanda and Kyu” envelope, with all the translating team, appears at an influential and committed festival at the Cannes exhibition, and plumbing issues of race, sex and conquest.
With the trend to the Cannes Film Festival, which will host the Marché du Five Goes movie market to exhibitions shown by cinematic festivals around the world, Festival do Rio goes to the Cannes Festival is to bleed on May 17.
If the clips are anything you must go through, the movie “Claice and the Stars”, which is “Claice and the Stars”, is produced by Brazil Lamenar and participates in its production by Urara Aurora E.
“Amanda and Kayo” coincides with the latest movie from Daniel Ribeiro, which won the Berlinaly Teddy Award and the Panorama Vibersesi Award for his first feature in 2014, “The way he appears.”
The Brazilian films are playing “The Secret Agent” from Kleberoça Fileho- and acid was in the case of “The Black Thrban”. It is also distinguished in market choices, such as “Ana, Ena Assant” in Fernanda Alves Salgado on which lyric sadness focuses at the Marché exhibition at a festival festival, and Marché shows like a blood -focused blood window.
It includes five full Brazilian titles, however, organized by Marché Du with the support of Rio De Janeiro Int’l. The Film Festival, the Brazilian Film Festival, the audiovisual honesty of the Brazilian Ministry of Culture, and the Du Rio Festival goes to the Cannes Festival with an additional weight, where it displays a Brazilian -backed government, which is part of this Brazilian Brazilian celebrations for this year at the Festival Festival Festival Festival.
“The five projects that we bring to the Cannes Festival cover a wide range of Brazilian cinema, from a deep political ridicule to age, which highlights new discussions from LGTQIN+ sex issues,” says Elda Santiago, CEO of LGTQIN Group, Programming and International Projects.
“I think he is also talking about the ambition that our industry must reach with a global market and new fans. This is the result of years of work and Oscar really helps this vision,” she adds, in reference to “I am still here.”
He goes to titles not only Rio De Janeiro (“Claraice and the Stars”) but São Paulo (“Amanda and Caio”, “Sistermaids”), Alagu in northeastern Brazil (“We do not dream”) and Santa Catarina in the south (“Virtue Women”) says many artistic and artistic operations, and manufacturing across gasin. Five takes the titles:
Midli next generation
Ribeiro (the “” ideal ends “) set out to the scene in 2008, the best Berlins Gel 14plus won the best with” you, I “. He has achieved 54 wins since then. Otherwise, all directors – Leticia Peres, Olesis Arthur, Centia Dumit Betar, and Carol Rodriguez – are made for the first time in their imagination.
Brazil payment envelope
While the United States drowns in tyranny, the Brazil cinema is fighting to help the country appear. Festival do Rio Cannup holds his new motivation and leadership under the leadership of President Luiz Inácio LULA DA Silva to support the filmmaking and television industry.
An example of this is: “While the crossing community is being attacked on many fronts, this film moves in the opposite direction. One of the main actors to the background additions, everyone on the screen is a sexual transgender person,” says the producer of “Amanda and Kayo” Diana Almeida. Not only does the racist “sistermaids”, but unusually, take the color -based discrimination. All five titles are made by young black film makers, gender representatives, or Ultraconservatism.
Inclusiveness
One of the largest “Amanda and Caio” points, is that despite its gender crew, the Emanda and Caio’s experience can be fully associated. Likewise, “Clarice and the Stars” “away from the marginal novels that are often seen on the screen,” says the writer, director Leticia Pires. Marcus Perry, a creative product in Aurora A. On an equal footing, “Sistermaids” “started as a reflection on how racism and color formed the black family ties,” says director Carol Rodriguez.
Increase Brazil’s large money
During the era of Bolsonaro, the Independent Brazilian Court, De Kontas Da Uniono (TCU), froze new incentives of Brazil Fondo Cetorel Du (FSA), the giant federal membranes agency, on concerns about accountability. Now new or increasing financing of federal, regional or other financing that occupies the Brazil industry. All five titles have FSA financing, “Clarice” is supported by Riofilme Riofilme Riofilme Riofilme; Rodriguez says Paulo Gustavo Kovid-19 financing is the key to completing the “Sistermaids” financing and post-production insurance. “Virtual Women” received the Santa Katarina government grant.
Lead women type
Few movements are more exciting in Latin America than women’s films using or volatility of the gender agreement to question the realization of the sexes and the agreement: Think of the “friendly monster”, “Good Manns”, “Medusa”, “Clara Sola” and “Huesera”. In choice, the supernatural “sistermaids” is recorded for nature, or at least magic. Director Citia Domin is: “Virtuosas” as “feminist terror that goes beyond the” final girl “: he flows into psychology for complex, defective women who embrace or take advantage of the distorted faith.”
And titles:
“Amanda and Cao,” (“I will miss you,” Daniel Ribeiro)
Seven years later, Amanda and Kyu moved. He dreams of a future with her; She dreams of something more. Then Amanda meets Joao. “Some love fading. Others turn,” says the record. Almeida suggests that the relationship drama of Ribeiro and his job producer Diana Almeida in Laccona’s films in Sao Paulo, and perhaps the first feature film to have completely converted actors. “The roots in affection, complexity, and transformation”, as Al-Mida says, the film is a disintegration story “you feel intimate and real-which focuses transit characters, but speaks to the emotions that anyone can associate with,” she adds.
With the permission of Diana Al -Mida
Claris and the stars, (“Claris sees the stars”, Leticia Peres)
Claris, eight -year -old, is required to make room for a new child. She was shocked that she might no longer an apple for her parents, in the attic, she finds a magic book that he shows on Aquarius Circus Fantasy, through which she learns to face her fears. Producer Bibi says, “Claris”: “A deep personal and poetic vision of childhood, imagination and flexibility.” Latin Strand Horizons.
Credit: Marcus Perry
“Sistermaids,” (“Creation”, Carole Rodriguez)
“Psychological drama with supernatural, written, directed, led by black women,” says Julia Zakia, a “Sistermaids” product at Gato Do Parque Cinematográfica. In this, Sandra is reconsidering the home of Mariana’s cousin, where she grew up. Both are black women, but the world reads different skin tones. “During the re -connection, the memories buried for a long time: childhood ghosts, from the proportions, from love that is not completely left.” “Winning three awards in BRLAB 2017 and honorable Frapa 2020 to write the script,” Sistermaids “is” a story about forgiveness, self -calm, and recovery in the face of violence, “says Rodriguez.
“Honorable Women”, (“Honorable”, cíntia domit bittar)
A haven for the exclusive vocabulary of the virtuous Christian women in chaos and terror in the grip of a mysterious witch. The fictional feature for the first time from Domit Bittar that won “Summer Ball” for the year 2019 at the Cartagenaa Festival in Colombia. “By mixing acidic humor, social criticism of superior archives, Christian fundamentalist denial and strange suspense, the film weaves a tense journey of strength and madness with greatness while also highlighting the risk of reducing reactionary women’s movements,” she says. “The film reveals Brazil rarely filmed on the screen,” adds producer Anna Pala Mendes.
Honorable woman
Court of Cíntia Domit Bittar
“We do not dream,” (Ulysses Arthur)
Arthur was described as “exciting rebellious drama” and was chosen for Incubadora Paradiso, which is part of Projeto Paradiso, where the scenario was developed by the famous director Marcelo Gomez (“former cinema and eagles”) in an example of the spirit of the Brazilian cinema community. “We do not dream,” turns into Ciro, a medicine student and a pole dance teacher for his friends who move, with grants, to the Antônio apartment, a movie “brings the rhythm and the leadership of the Brazilian young black in social movement, who occupy positions in power and change the confrontation of a white state of white.” It is produced by Céu Vermelho Fogo Filmes, which focuses on the positions composed, unexpected situations, especially on ethnic and strange issues in contemporary Brazil.
We do not dream
Credit: Danny Korea
