The avant-garde filmmaker Dziga Vertov was also an untiring promoter of the cause of women’s emancipation.
Archives: Filmes
João lives in São Paulo. He goes through a series of encounters with people like his long-time friend Irene; his boyfriend Álvaro; Matias, a young man he meets in the subway and has a sexual experience with, among others, some acquainted, some unknown.
Awkward situation when the desire to have a bath takes you much farther that planned.
Less than two hundred feet away from the prison cell of the world’s most famous political prisoner, a vigil group follows the outcome of the most important presidential elections of the last 30 years in Brazil.
As three 19 years old friends get together, doubt grows over their long-lasting friendship.
During the summer of 1990 in Chile, a small group of families lives in an isolated community, in the aftermath of end of the dictatorship. In this time of change and reckoning, Sofía, Lucas and Clara struggle with parents, first love, and fears.
It’s summer on an amusement park in the Paris suburbs. A land of adventures, flirting and transgression for some, a place to hide out or take a break for others. It’s like a childhood kingdom waiting to be explored, resonating with the turmoil of today’s society.
After the austere revision of the historical film in the previous Jeanne la pucelle (1994), Rivette conceived Haut bas fragile under the sign of musical cinema. “Inspiration? MGM’s low budget films of the fifties, shot in four or five weeks, using sets left by other films; in particular a Stanley Donen film called Give a Girl a Break“(Rivette). Here is a film with a group of girls, songs and dance numbers. Anna Karina’s special starring suggests that Haut bas fragile also intended to evoke the “Nouvelle Vague spirit”. (Cinemateca Portuguesa)
In “The Kite”, we learn, through the relationship between the little boy and his grandpa, that none of us are here forever and also that death doesn’t mean the end of our journey.
Telling the story of a French deserter who joins a Swiss far-right group, from which he later tries to flee for the love of a woman, Le petit soldat was one of Godard’s most controversial films, accused at the time of “fascism” by part of the official left and banned in France for three years, for the many allusions to the Algerian War, then at its peak. It is also the film of Godard’s first encounter with Anna Karina, who every time she enters the scene steals all the light around her. And the film of the celebrated aphorism that comes from a speech about photography, cinema and the truth: “”Photography is truth. Cinema is truth twenty-four times per second.” (Cinemateca Portuguesa)
Rivette’s second feature adapts Diderot’s homonymous novel about a young woman who is obliged to go to a convent. Before it was even directed, the film unleashed a cabal of conservative politicians, who banned it, resulting in a huge scandal. It was authorized only after the title changed to Simone Simonin, la religieuse de Denis Diderot, although no one ever referred to it as such. Very different from the style that Rivette would adopt from L’amour fou (1969), rigorous and rarefied, extremely “written”, La religieuse has an exceptional performance of Anna Karina in the leading role. (Cinemateca Portuguesa)
In a basement, several workers have to identify human emotions to teach an artificial intelligence to read faces. But there is an expression that no one can decode.
A crisis triggers images of the present that talk about the past and images from the past that talk about the present: stories repeat themselves in “The Skid”.
Visconti worked on the adaptation of Camus’s novel (The Stranger, 1942) seduced by the possibility of drawing a contemporary political fresco centered on the end of French colonization in Algeria, a version that Camus widow made impossible, requiring the book to be scrupulously followed. Visconti remained faithful to the production commitments and filmed Lo straniero but lost his interest in the project, not only due to the pressure of Francine Camus and the producer Dino de Laurentiis, but also because the actor with whom he wanted to work, Alain Delon, gave up and was replaced by Mastroianni, alongside Anna Karina. For many, Lo straniero is a failed Visconti. Others praise the first part, shot under the Algerian sun. (Cinemateca Portuguesa)
Once upon a time, there was a tiny, green, wide-mouthed frog, that was extraordinarily curious. One day, while catching flies, he decides to jump out in the world to ask all the other animals what they are and what they eat.