10 items from 2017
An arrestingly upsetting, though lyrically shot opening sets the tone, if not the pace, of “Vazante,” the solo feature directorial debut from Walter Salles collaborator Daniela Thomas (who co-directed “Foreign Land,” Midnight,” and the Cannes-awarded “Linha de Passe”). In fragmented and impressionistic close ups — a white hand grasping a sheet, a slave’s black face falling in and out of focus as she exhorts her mistress to push — Thomas begins her film with a scene of childbirth that is also a scene of death, and it is not the last time these two concepts will appear inextricably intertwined in her darkly mysterious period fable.
Mining life in Brazil in the early 1800s is, according to her envisioning, haughty and brutal, where man’s inability to wholly tame nature gives rise to the inarticulate rage of white landowning men who oppress women and slaves alike in a futile attempt to master their destinies. »
- Jessica Kiang
Berlin-based director Karim Aïnouz, a driving force in Brazil’s cinema build, has set a slate of projects to be produced, among others, by director Walter Salles (“The Motorcycle Diaries”) and Brazil’s two most prominent producers, Rodrigo Teixeira (“Call Me By Your Name,” “Patti Cake$”) and Fabiano Gullane (“The Second Mother”).
Director of 2014 Berlin competition player “Futuro Beach,” Aïnouz is also planning also to co-direct a movie with Marcelo Gomes, whose “Joaquim” world premiered in Berlin competition last week. Aïnouz is already in production on a documentary for Arte.
Though totally disparate in film type, the five movies show a common preoccupation: To map out the revolutionary forces, for good and bad, shaping Aïnouz and forging the contemporary world.
Reuniting Aïnouz and Gomes, “Clandestinos” underscores a sense of urgency running through most of Aïnouz’s projects. The directors’ prior film together, 2009’s “I Travel Because I Have To, I »
- John Hopewell
Berlin—Partnering on an anticipated title from a distinguished Latin American woman director which offers an original take on Latin-America-u.S. emigration, Sandro Fiorin’s Miami-based FiGa Films has boarded Julia Solomonoff’s upcoming “Nobody’s Watching.”
One of the foremost sales companies of Latin American films, FiGa Films will handle international sales on this singular Latin American/U.S production.
Largely set in New York, and spoken in English and Spanish, “Nobody’s Watching” marks Solomonoff’s follow-up to “Sisters,” backed by Walter Salles, and “The Summer of la Boyita,” co-produced by Pedro and Agustin Almodovar’s El Deseo. Solomonoff produced Julia Murat’s “Pendular,” which plays in this year’s Berlinale Panorama section.
“A film about immigration but not about a man searching for a green card,” in Solomonoff words, “Nobody’s Watching” stars Argentine actor Guillermo Pfening (“The German Doctor,” “Boyita”). Pfening plays Nico, an attractive Argentinean »
- John Hopewell
Will early 2017, and Berlin in particular, be seen in retrospect as a golden age for modern Brazilian cinema, cut short in its prime?
Brazil’s presence at the festival is at an all-time high this year even as producers fear public film funding at Brazilian federal film-tv fund Ancine will plunge. Ten completed movies, led by Marcelo Gomes’ competition player “Joaquim,” will play in different sections of the fest: “Vazante,” from Daniela Thomas, who directed three movies with Walter Salles, opens Panorama; Sundance sensation “Call Me by Your Name,” produced out of Brazil by Rodrigo Teixeira’s Rt Features, also plays in Panorama.
That bounty represents a big increase from the not-too-distant past. Up to 2014, with occasional exceptions, Brazil averaged just three to five films a year at Berlin, including shorts. Only Germany, U.S., France, and Canada boast more movies selected for this year’s Berlinale than Brazil.
On top of that, »
- John Hopewell
Director: Marcelo Gomes
Rec Productores (Recife), Ukbar Filmes
Sales Agent: Films Boutique
The first Golden Bear tilt for Gomes (“Cinema, Aspirins and Vultures”) after “The Man in the Crowd” played Panorama three years back is an anti-colonial drama and fictional poetry about Tiradentes, Brazil’s most famous independence fighter who rose up in 1789 against the Portuguese crown.
Director: Daniela Thomas
Dezenove (Sao Paulo)/Nos Outros Prods.
Sales Agent: Films Boutique
Co-opening Panorama, Thomas’ solo debut after directing three movies with Walter Salles, is a drama, set in 1821 on a benighted farmhouse, where a young wife is left to her own devices with her estate’s slaves.
Director: Luca Guadagnino
Rt Features, Frenesy Film Co., La Cinéfacture
Sales Agent: Memento Films Intl.
- John Hopewell and Emilio Mayorga
Brazilian filmmaker Daniela Thomas is steadily earning an increasingly bigger profile on the world cinema stage. Best known for co-directing 2008’s “Linha de Passe” with Walter Salles, she also helmed the “Loin du 16e” segment in the omnibus “Paris, je t’aime” and was behind the camera for the Opening Ceremonies at the Rio Olympic Games. Now she’s headed to the Berlin Film Festival to open the Panorama Special section with “Vazante,” which will also be part of the Reclaiming Black History program at the fest.
- Kevin Jagernauth
Paris — Continuing its select acquisition of sometimes strikingly singular Latin American films, Films Boutique has acquired international sales rights to Daniela Thomas’ “Vazante,” which world premieres at the Berlinale next week, opening its Panorama Specials section.
The first solo feature from Thomas, co-director of the TV broadcast of the Rio 2016 Olympic Games Opening Ceremony and who directed three movies with Walter Salles, “Vazante” is set in a Brazilian backland in 1821, its making marking an act of compassion for the solitude and suffering of the people there as it charts, in a thought-through manner, the makings of modern Brazil.
Long in its crafting, “Vazante” is produced by Sara Silveira at Dezenove Som e Imagem, a producer of edgier established names and multiple first features, and Beto Amaral, at (Cisma Produções, in co-production with Ukbar Filmes in Portugal.
Written by Thomas and Amaral, who also produced the Thomas co-directed “Sunstroke,” “Vazante »
- John Hopewell
In 2000, Max Färberböck's Aimée & Jaguar star Maria Schrader was on the Berlin Film Festival jury with Andrzej Wajda, Gong Li, Walter Salles, and Marisa Paredes when Paul Thomas Anderson's Magnolia won the Golden Bear and the number of translators had an impact on her. In New York, the director of Stefan Zweig: Farewell To Europe and I discussed her creative team, including co-writer Jan Schomburg, cinematographer Wolfgang Thaler, and editor Hansjörg Weißbrich. We followed a Zweig trail from Terence Davies on Max Ophüls' Letter From An Unknown Woman to George Prochnik's influence on Wes Anderson's The Grand Budapest Hotel to Varian Fry, Lion Feuchtwanger and Defying The Nazis: The Sharp's War, directed by Ken Burns and Artemis Joukowsky.
Maria Schrader: "I dedicated the movie to Denis Poncet. »
- Anne-Katrin Titze
Comprising a considerable amount of our top 50 films of last year, Sundance Film Festival has proven to yield the first genuine look at what the year in cinema will bring. Now in its 39th iteration, we’ll be heading back to Park City this week, but before we do, it’s time to highlight the films we’re most looking forward to, including documentaries and narrative features from all around the world.
While much of the joy found in the festival comes from surprises throughout the event, below one will find our 20 most-anticipated titles. Check out everything below and for updates straight from the festival, make sure to follow us on Twitter (@TheFilmStage, @jpraup, @djmecca and @FinkJohnJ), and stay tuned to all of our coverage here.
- Jordan Raup
Though controversial for his politics back home, Brazilian writer-director Mendonça has made his country proud by being invited to premiere his sophomore feature, Sônia Braga starrer “Aquarius,” at last year’s Cannes Film Festival. A former critic and avid cinephile, Mendonça also serves as the artistic director for his hometown Janela Intl. de Cinema do Recife, an international festival in his hometown.
Mendonça’s knowledge of film history is vast and his taste refreshingly catholic. He jokes, “As much as I remember ‘Raiders of the Lost Ark’ as an amazing filmgoing experience at 13, films like ‘Assault on Precinct 13’ or ‘Small Change’ or ‘After Hours’ actually made me want to make films.”
Like his critically acclaimed debut, “Neighboring Sounds,” “Aquarius” astutely observes how society works and how people interact based on unwritten social rules and unspoken tensions. Though both films were inexpensively made near his home in Recife, Mendonça isn »
- Alissa Simon
10 items from 2017
IMDb.com, Inc. takes no responsibility for the content or accuracy of the above news articles, Tweets, or blog posts. This content is published for the entertainment of our users only. The news articles, Tweets, and blog posts do not represent IMDb's opinions nor can we guarantee that the reporting therein is completely factual. Please visit the source responsible for the item in question to report any concerns you may have regarding content or accuracy.See our NewsDesk partners