Brazil represented in Berlin by All the Dead Ones

Brazil will be represented in competition at the Berlinale – Berlin International Film Festival by Marco Dutra and Caetano Gotardo’s period drama “All The Dead Ones” (Todos os Mortos), a film set in late 19th century São Paulo, shortly after the abolition of slavery.

The film focuses on a mother and her two daughters from a formerly wealthy coffee plantation-owning family that has gone into financial decline amid the changing backdrop of Brazil at the turn of the century. At the same time, the film follows the women’s former slaves who are struggling to find their place in society.

Dutra’s credits include “Good Manners” (As Boas Maneiras), edited by Gortardo, which won over 31 festival awards including the Locarno Film Festival jury prize in 2017, and at Festival do Rio l Rio de Janeiro Int’l Film Festival it won best film, best cinematography, best supporting actress, the festival’s Felix Award and the FIPRESCI prize.

Brazilian Documentary nominated for Oscar

Brazil has a film nominated for the 92nd Academy Awards, although for best documentary feature rather than international feature film. The film is Petra Costa’s “The Edge of Democracy,” in which a political documentary and personal memoir collide in an exploration into the complex truth behind the unraveling of the two Brazilian presidencies of Luiz Inácio Lula da Silva and Dilma Rousseff.

And while Brazilian director Fernando Meirelles did not get a nomination for “The Two Popes,” his film did get nominations for best actor for Jonathan Pryce, best supporting actor for Sir Anthony Hopkins, as well as Anthony McCarten’s adapted screenplay.

The 92nd Academy Awards will be held on Sunday, February 9, 2020, at the Dolby Theatre at Hollywood & Highland Center in Hollywood, and will be televised live in the US on the ABC Television Network at 6:30 p.m. ET / 3:30 p.m. PT.  The Oscars will also be televised live in more than 225 countries and territories worldwide.

Brazilian Movie Market 2019

Back in November 2018 panellists at Festival do Rio’s RioMarket were unanimously optimistic about the state of the Brazilian theatrical film market for 2019, after what all agreed had been a difficult year in 2018 for distribution, exhibition and getting “bums on seats”.

It turns out those panelists had a right to be optimistic. Ticket sales increased from 163.4 million in 2018 to 172.2 million in 2019, with 19.7 million of those being for “Avengers: Endgame”. Revenues in reais (the Brazilian currency) hit the historic high of R$2.74 billion in 2019, up 13% from 2.42 billion in 2018 and beating the previous high of R$2.7 billion in 2017.The year also saw the opening of another 174 screens, taking the total to 3,505. Another record.

Domestic Brazilian titles were responsible for 11.5% of that revenue in 2019, or R$315m, up 13% from R$279m in 2018, but actual ticket sales for Brazilian films were down 1.2% from 22.9m tickets in 2018 to 22.6m in 2019, with 2.5 million of those, or nearly 10%, sold in the final week of 2019 thanks to the comedy “Minha Mãe É Uma Peça 3” (My Mom is a Character 3). 327 Brazilian titles were released in 2019, down 11% from 367 in 2018, while international titles released in 2019 were 560, down 1.7% from 570 in 2018.

For nearly a decade, up to 2017, Brazil’s theatrical market had experienced growth. It had to stop at some point, so after eight consecutive years of increased ticket sales and revenues, 2017 became the year of no growth in Brazil, but the numbers were still very strong. 2018 was to see a further decline in ticket sales, and the first decline in 12 years in box office revenues in the local currency. But head offices in the US were still not complaining about the results they were seeing from Brazil, still one of the world’s largest cinema going markets.

Cinema admissions in Brazil had now gone from 89.1 million in 2008 to 112.7m in 2009; 134.9m in 2010; 143.2m in 2011; 146.6m in 2012, the year Brazil hosted the World Cup; 149.5m in 2013; 155.6m in 2014; 173m in 2015, to the record breaking 184.3 million in 2016, surprisingly the year of the Rio Olympics. In 2017, no record, but still the very respectable sales of 181 million ticket were achieved, a drop of just 1.5%, compared with 2016, but still the second best year on record, before the drop of 10.1% to 163.4m in 2018, but now an increase of 7.6% to 172.2m ticket sales in 2019.

The strength and volatility of the US dollar against the Brazilian real has meant dollar values were down in 2019. 2017’s gross had represented US$749.7 million at the time, up from US$726m in 2016 and just US$486m in 2015, while 2018’s dollar revenues were down to US$630m, and 2019’s box office is estimated to have been worth around US$594 million. But if exchange rates worked against them, the studios should still be happy with the number of “bums on seats”.

In 2018 factors contributing to what was seen as a disappointing year for ticket sales and revenues for the big screen in Brazil included the World Cup, the Brazilian Presidential Elections, and a truckers strike that almost brought Brazil to a halt for two weeks. Panellists at Rio Market also mentioned a disappointing line up of both domestic and international titles that had failed to find or excite an audience in Brazil. In fact 2018 was generally very sluggish in Brazil with only 127 million tickets having been sold up until the end of September, mainly thanks to the April release of “Avengers: Infinity War”, before the market showed signs of recovery in October and early November thanks to “A Star is Born”, “Venom”, “Bohemian Rhapsody” and “Fantastic Beasts: The Crimes of Grindelwald”, and in December “Aquaman”.

Panellists at RioMarket were particularly encouraged by “A Star is Born” and “Bohemian Rhapsody” because these two films did not fill the normal blockbuster form of an established franchise or action character. All panellists, however, noted that both for international and domestic Brazilian releases, it was around the top ten to 15 releases that did really well, with the other 400+ titles struggling and offering a lot of room for improvement.

2019’s box office, however, was firmly dominated again by established franchises or action characters with “Avengers: Endgame” becoming the most watched film of all time in Brazil with sales of 19.2 million tickets, and Disney’s “The Lion King” selling 15.8 million to make it the third most watched of all time after “Titanic” in 1998. “Avengers: Infinity War” is fourth on the list.

The average occupancy rates of the 3,500 screens in Brazil, the majority in multiplexes and over 30% of them in the state of São Paulo and 11% in Rio, has been running at around 18-19%, yet capacity is a problem in Brazil whenever a major blockbuster, like “Avengers” is released.There is no question that Brazil is under screened with just one screen for every 62,293 people, compared with 8,123 in the US or 15,253 for the UK.

The expansion of screens in Brazil, now back to the levels of the 1970s, also slowed in 2018 and 2019 and this has been put down to the economic climate in Brazil that saw a slowing in the expansion of shopping centres where new screens would be located. Shopping Centre screens are also the most successful in Brazil in terms of revenues and tickets sales. Having said that, 174 screen did open in 2019 (44 closed), taking the total of screens past the 3,500 mark. Since 2017 it is estimated that 434 new screens have come online, with 350 of those in the interior of the country and just 84 in the main cities.

In 2019 six cinema complexes in Brazil sold more than one million tickets in the year, those being UCI NYCC (Rio de Janeiro); Cinemark Guarulhos (São Paulo); UCI Kinoplex Norte Shopping (Rio de Janeiro); Kinoplex Dom Pedro (Campinas); Cinemark Aricanduva (São Paulo); and UCI Kinoplex Shopping Iguatemi (Fortaleza). Rio de Janeiro remains the state with the highest market share for domestic Brazilian releases.

Top 20 grossing films of the year in Brazil in 2019

  1. Avengers: Endgame (US$85.7 million from tickets sales of 19.2 million)
  2. The Lion King (US$69.5m / 15.8m)
  3. Captain Marvel (US$38.1m / 8.8m)
  4. Joker (US$38.1m / 9.4m)
  5. Toy Story 4 (US$32.7m / 7.8m)
  6. Spider Man: Far From Home (US$28.3 / 6.4m)
  7. Maleficent: Mistress of Evil (US$22.3m/ 5.6m)
  8. Aladdin (US$19.9m / 4.7m)
  9. Minha Vida em Marte (US$17.5m / 4.3m) *
  10. Ralph Breaks the Internet (US$17.3m / 4.3m)
  11. How To Train Your Dragon: The Hidden World (US$14.4m / 3.8m)
  12. Nada a Perder 2(Nothing To Lose 2 – US$13.7m / 5.2m) *
  13. Aquaman (US$12.4m 2.9m)
  14. Shazam! (US$12m / 2.9m)
  15. Fast & Furious Presents: Hobbs & Shaw (US$10.2 / 2.7m)
  16. Minha Mãe É Uma Peça 3 (My Mom is a Character 2 – US$7.6m / 2.6m) *
  17. Dumbo (US$7.6m / 1.8m)
  18. Turma da Monica: Laços (Monica’s Gang – US$7.5m / 2m) *
  19. De Pernas Pro Ar 3 (Head Over Heels 3 – US$7m / 1.8m) *
  20. The Secret Life of Pets (US$7m / 1.9m)

* Domestic Brazilian Release

Top 20 grossing films of the year in Brazil in 2018

  1. Avengers: Infinity War (US$66.7million from tickets sales of 14.5 million)
  2. Incredibles 2 (US$37.5m / 9.8m)
  3. Black Panther (US$35.8m / 7.4m)
  4. Nada a Perder (Nothing To Lose – US$33m / 12.2m) *
  5. Aquaman ($23.2m / 5.6m)
  6. Jumanji: Welcome to the Jungle (US$21.8m / 4.8m)
  7. Jurassic World: Fallen Kingdom (US$20.8m / 5.2m)
  8. The Nun (US$20m / 5.3m)
  9. Fifty Shades Freed (US$19.7m / 4.3m)
  10. Hotel Transylvania 3: Summer Vacation (US$19.5m / 5.4m)
  11. Venom (US$19m / 4.6m)
  12. Deadpool 2 (US$18.8m / 4.6m)
  13. Ferdinand (US$14.4m / 3.4m)
  14. Fantastic Beasts: The Crimes of Grindelwald (US$14.2m / 3.5m)
  15. Bohemian Rhapsody (US$13.3m / 2.9m)
  16. Ant Man and the Wasp (US$13m / 3.2m)
  17. Mission Impossible – Fallout (US$11.8m / 2.5m)
  18. Os Farofeiros (The Beachnickers – US$9.8m / 2.6 m) *
  19. Coco (US$9.4m / 2.6m)
  20. Fala Serio Mãe ( US$9m /  2.4m) *

* Domestic Brazilian Release

Top 20 grossing films of the year in Brazil in 2017

  1. Fast & Furious 8: The Fate of the Furious ( US$41.8m from tickets sales of 8.5 million)
  2. Beauty and the Beast (US$41.5m / 8.3m);
  3. Despicable Me 3 (US$35.9m / 8.89m, the highest ticket sales of the year);
  4. Justice League (US$35.9m / 8.4m);
  5. Wonder Woman (US$ 33m / 7m);
  6. Spider-Man: Homecoming ($32m /6.7m);
  7. Thor: Ragnarok (US$30.4m / 6.4m)
  8. Logan (US$29.2m / 6.4m);
  9. Minha Mãe É Uma Peça 2 (My Mom is a Character 2 – US$27.9m / 6.5m) *
  10. The Shack (US$23.6m / 5.1m)
  11. Moana (US$22.9m / 5.1m)
  12. Guardians of the Galaxy 2 (US$21m / 4.2m)
  13. Fifty Shades Darker (US$20.3m / 4.6m)
  14. It (US$19.9m / 4.4m)
  15. Pirates of the Caribbean: Dead Men Tell No Tales (US$16.7m /  3.6m)
  16. Star Wars: Episode VIII – The Last Jedi (US$16.1m / 3.1m)
  17. Wonder (US$16.1 / 4.1)
  18. The Boss Baby (US$13.9m / 3.3m)
  19. War of the Planet of the Apes (US$13.4m / 2.7m)
  20. The Mummy (US$13.3m / 3m)

* Domestic Brazilian Release

12 Brazilian films in running for Oscar nomination

Brazil has announced the 12 films from which one will be chosen to be submitted to the Academy of Motion Picture Arts and Sciences in Los Angeles as Brazil’s Oscar entry in the new category of best international feature film (previously Foreign Language). The list includes two documentaries (“Humberto Mauro” e “Espero tua (re)volta”) and two films that premiered in Cannes in May 2019

The 12 films are:

“Bacurau”, by Kleber Mendonça Filho
“Los silencios”, by Beatriz Seigner
“A vida invisível”, by Karim Aïnouz
“Sócrates”, by Alex Moratto
“A última abolição”, by Alice Gomes
“A voz do silêncio”, by André Ristum
“Bio”, by Carlos Gerbase
“Legalidade”, by Zeca Brito
“Humberto Mauro”, by André Di Mauro
“Espero tua (re)volta”. by Eliza Capai
“Chorar de Rir”, by Toniko Melo
“Simonal”, by Leonardo Domingues

The jury to choose the film to go forward is made up of directors Anna Muylaert, David Shürmann and Zelito Viana; producers Sara Silveira and Vania Catani; diretor of photography, Walter Carvalho; screenwriter Mikael de Albuquerque; critic, curator and founder of the festival É Tudo Verdade, Amir Labaki; and the director of Festival do Rio, Rio’s international film festival, Ilda Santiago.

 

Brazilian directors head for Cannes

Two Brazilian directors will have their films screened in the official section of this year’s Festival de Cannes

Carlos Diegues, who has had three films screen in competition at Cannes, will receive a special screening and the world premiere of his latest film “O Grande Circo Místico” (The Great Mystical Circus – photo). In 2012 Diegues’was chair of the Caméra d’or jury.

Sao Paulo born, LA based director Joe Penna, better known to his You Tube followers as Mystery Guitar Man, is to get a special midnight screening of his first feature, the thriller “Arctic” which stars Mads Mikkelsen, who headlined NBC’s Hannibal series.

Joe Penna

“Bingo: The King of the Mornings” gets UK release prior to Oscars

Brazilian director Daniel Rezende is visiting the UK to promote the release of his first feature, Bingo: The King of the Mornings, a hit in Brazil that is to be released of 15 December in the UK. The film has been submitted by Brazil for both the Academy Awards and the BAFTAS.

Although the film is Rezende’s first feature, the director already has an impressive CV which includes his Academy Award nominated and BAFTA winning editing work on the Brazilian cult classic, City of God (2002), as well as his work on Terrence Malick’s Tree of Life (2011), Robocop (2014), Blindness  (2008) and The Motorcycle Diaries  (2004).

Bingo tells the true story of Augusto (Vladimir Brichta), an irreverent Brazilian actor who was searching for his place in the spotlight. Augusto was an actor hungry for a place in the spotlight, following in the footsteps of his mother, a respected stage artist in the 1950’s. While starring in soft porn and TV soap operas, Augusto finally got the chance to conquer the crowds when he was cast as “BINGO”, a clown who hosted a children’s colourful morning TV programme. With his irreverent humour and natural talent, the show became a huge hit in Brazil, but a clause in his contract forbade him from revealing his true identity behind the mask. A Brazilian Stig!

In the process of finding stardom Augusto became an anonymous celebrity. With his makeup on, he brought happiness to children across Brazil, but not to his own son, Gabriel, that saw his father distancing himself from him as he went in search of recognition.

Filled with irony and humour and an exaggerated pop look from the backstage universe of the Brazilian 80’s television, Bingo: The King of the Mornings tells the incredible and surreal story of a man that whilst looking for his artistic value, ends up finding his personal decay.

It is not easy to define Bingo by picking out only one matter,” explains Rezende. “Essentially it is about a personal search for recognition, about a man’s quest to find his place in the spotlight that ends up hidden behind a mask. There’s something very contemporary in this topic, we all want to be recognised by our parents, by our children, by our friends. But it is also a film about the relationship between father and son. The protagonist is in such a crazy hunt to be recognised as an artist that he ends up distancing himself from his son. He is on TV, making a lot of children laugh every day, but not his own.”

Brazil picks “The Way He Looks” for the 87th Oscars

A046_C002_0101D2Daniel Ribeiro’s Hojé eu Quero Voltar Sozinho (The Way He Looks) has been chosen to represent Brazil in the Foreign Language Film category at the 87th Academy Award. The film, which won the Teddy Award and FIPRESCI prize at the 2014 Berlin Film Festival, tackles LGBT issues.

Set against the music of Belle and Sebastian, Ribeiro’s coming of age tale is a fun and tender story about friendship and the complications of young love. Leo is a blind teenager who is fed up with his overprotective mother and the bullies at school. Looking to assert his independence, he decides to study abroad to the dismay of his best friend, Giovana. When Gabriel, the new kid in town, teams with Leo on a school project, new feelings blossom in him that make him reconsider his plans. Meanwhile, Giovana, grows jealous of this new found companionship as tensions mount between her and Leo.

A record 83 countries have submitted films for consideration in the Foreign Language Film category for the 87th Academy Awards. The nominations will be announced 15 January 2015 in Los Angeles.The other Latin American submissions are:

Argentina, “Wild Tales,” Damián Szifrón, director;
Bolivia, “Forgotten,” Carlos Bolado, director;
Brazil, “The Way He Looks,” Daniel Ribeiro, director;
Chile, “To Kill a Man,” Alejandro Fernández Almendras, director;
Colombia, “Mateo,” María Gamboa, director;
Costa Rica, “Red Princesses,” Laura Astorga Carrera, director;
Cuba, “Conducta,” Ernesto Daranas Serrano, director;
Dominican Republic, “Cristo Rey,” Leticia Tonos, director;
Ecuador, “Silence in Dreamland,” Tito Molina, director;
Mexico, “Cantinflas,” Sebastián del Amo, director;
Panama, “Invasion,” Abner Benaim, director;
Peru, “The Gospel of the Flesh,” Eduardo Mendoza, director;
Uruguay, “Mr. Kaplan,” Álvaro Brechner, director;
Venezuela, “The Liberator,” Alberto Arvelo, director.

the-way-he-looks

Première Brasil 2014 – Festival do Rio

festival-do-rioThe selection for this year’s Première Brasil, has been announced in Rio de Janeiro, and consists of 41 features and 28 shorts.

Première Brasil 2014 includes ten feature films, ten feature length documentaries and sixteen shorts in the main competition. A further five features and two documentary features will screen hors concours, while other Brazilian productions will screen in special Première Brasil sidebars such as Portraits and New Trends.

PREMIÈRE BRASIL | FICTION | COMPETITION

  • Ausência, by Chico Teixeira, 84’ World Premiere (SP)
  • Casa Grande, by Fellipe Barbosa, 115’ (RJ)
  • Love Film Festival, by Manuela Dias, 100’ World Premier (RJ)
  • O Fim De Uma Era, by Bruno Safadi and Ricardo Pretti 73’ World Premier (RJ)
  • O Fim e os Meios, by Murilo Salles, 105’ World Premier (RJ)
  • O Outro Lado do Paraíso, by André Ristum, 100’ World Premier (SP)
  • Último Cine Drive-in, by Iberê Carvalho, 98’ World PremierL (DF)
  • Obra, by Gregorio Graziosi, 80’ (SP)
  • Prometo um dia deixar essa cidade, by Daniel Aragão Brasil, 90’ World Premier (PE)
  • Sangue Azul, by Lírio Ferreira, 114’ (SP)

PREMIÈRE BRASIL | DOCUMENTARIES | COMPETITION

  •  À Queima Roupa, by Theresa Jessouroun, 90’ World Premier (RJ)
  • A Vida Privada dos Hipopótamos, by Maíra Bühler  and Matias Mariani, 91’ (SP)
  • Campo de Jogo, by Eryk Rocha, 71’ World Premier (RJ)
  • Esse Viver Ninguém me Tira, by Caco Ciocler, 72’ (DF)
  • Favela Gay, by Rodrigo Felha, 71’ World Premier (RJ)
  • Meia Hora E As Manchetes Que Viram Manchete, by Angelo Defanti, 81’ World Premier (RJ)
  • My Name is Now, Elza Soares, by Elizabete Martins Campos, 71’ World Premier (MG)
  • O Estopim, by Rodrigo Mac Niven, 87’ World Premier (RJ)
  • Porque Temos Esperança, by Susanna Lira, 71’ World Premier (RJ)
  • Samba & Jazz,  by Jefferson Mello, 90’ (RJ)

PREMIÈRE BRASIL | SHORTS | COMPETITION

  • Cine Paissandu: Histórias de uma Geração, by Christian Jafas, 15’ (RJ) – Documentary
  • E o amor foi se tornando cada dia mais distante, by Alexander de Moraes, 9’, (RJ) – Documentary
  • Mater Dolorosa, by Tamur Aimara and Daniel Caetano, 12’ (RJ) – Documentary
  • Cloro, by Marcelo Grabowsky, 15’ (RJ) – Fiction
  • Barqueiro, by José Menezes and Lucas Justiniano, 15’ (SP) – FIC
  • Outono, by Anna Azevedo, 12’ (RJ) – Fiction
  • O Clube, by Allan Ribeiro, 15’ (RJ) – Fiction
  • Edifício Tatuapé Mahal, by Carolina Markowicz and Fernanda Salloum, 9’ (SP) – Fiction
  • Menino da Gamboa, by Pedro Perazzo and Rodrigo Luna, 14’ (BA) – Fiction
  • Diário de Novas Lembranças, by João Pedro Oct, 13’ (SP) – Fiction
  • Historia Natural, by Julio Cavani, 12’ (PE) – Fiction
  • The Yellow Generation, by Daniel Sake 7’ (RJ) – Fiction
  • Kyoto, by Deborah Viegas, 8’ (SP) – Fiction
  • Loja de Répteis, by Pedro Severien, 15’ (PE) – Fiction
  • Max Uber, by Andre Amparo, 15’ (MG) – Fiction
  • Sem Título # 1: Dance of Leitfossil,  by Carlos Adriano, 6’ (SP) – Documentary

PREMIÈRE BRASIL | HORS CONCOURS | FICTION

  • A Luneta Do Tempo , by Alceu Valença, 97’ (PE)
  • Boa Sorte, by Carolina Jabor, 90’ (RJ)
  • El Ardor, by Pablo Fendrik, 90’ (RJ)
  • Infância, by Domingos Oliveira, 84’ (RJ)
  • Trinta, by Paulo Machline, 94’ World Premier (SP)

PREMIÈRE BRASIL | HORS CONCOURS | DOCUMENTARIES

  • Brincante, by Walter Carvalho, 92’ World Premier (SP)
  • Cássia, by Paulo Henrique Fontenelle, 120’ World Premier (RJ)

PREMIÈRE BRASIL | HORS CONCOURS | SHORTS

  • Compêndio, by Eugenio Puppo and Ricardo Carioba, 15’ (SP) – Fiction
  • Pé sem chão, by Sérgio Ricardo, 14’ (RJ) – Fiction

PREMIÈRE BRASIL | NEW TRENDS | FEATURES

  • A Revolução do Ano, by Diogo Faggiano, 76’ World Premier (SP)
  • Castanha, by Davi Pretto, 95’ (RS)
  • Deserto Azul, by Eder Santos, 94’ World Premier (MG)
  • Hamlet, by Cristiano Burlan, 90’ World Premier (SP)
  • Permanência, by Leonardo Lacca, 85’ World Premier (PE)
  • Seewatchlook o que você vê quando olha o que enxerga?, by Michel Melamed, 79’ World Premier (RJ)
  • Tudo vai ficar da cor que você quiser, by Letícia Simões, 75’ World Premier (RJ)

PREMIÈRE BRASIL | NEW TRENDS | SHORTS

  • A Deusa Branca, by Alfeu França, 30’ (RJ) – Documentary
  • Indícios 3 – quanto tempo a gente precisa ficar andando no mesmo lugar para dar um passo, by Dannon Lacerda, 12’ (RJ) – Fiction
  • La Llamada, by Gustavo Vinagre, 19’ (SP) – Documentary
  • O Bom Comportamento, by Eva Randolph, 20’ (RJ) – Fiction
  • O Rei, by Larissa Figueiredo, 25’ (PR) – Documentary
  • Tenho um dragão que mora comigo, by Wislan Esmeraldo, 17’ (CE) – Fiction

PREMIÈRE BRASIL | PORTRAITS | FEATURES

  • O Vento Lá Fora, by Marcio Debellian, 62’ World Premier (RJ)
  • De Gravata e Unha Vermelha, by Miriam Chnaiderman, 86’ (SP)
  • Guardiões do Samba, by Eric and Marc Belhassen, 81’ World Premier (SP)
  • Ídolo, de Ricardo Calvet, 103’ World Premier (RJ)
  • Para Sempre Teu Caio F., by Cande Salles , 90’ World Premier (RJ)

PREMIÈRE BRASIL | PORTRAITS | SHORTS

  • Andrea Tonacci, by Rodrigo Grota, 25’ (PR) – Documentary
  • Araca – O Samba em Pessoa, by Aleques Eiterer, 20’ (RJ) – Documentary
  • Caetana, by Felipe Nepomuceno, 15’ (RJ) – Documentary
  • Nora, by Gabriel Mendes and Fernando Munõz , 7’ (RJ) – Documentary

EXPECTATIONS

  • Na Quebrada, by Fernando Grostein Andrade, 90’ (SP)

GENERATIONS

  • Encantados, by Tizuka Yamasaki, 78’ World Premier (RJ)

First trailer for “Rio, Eu Te Amo”

The first trailer for “Rio, Eu Te Amo“, which is part of the Cities of Love series, has been released. Produced by Conspiração Filmes, Empyrean Pictures and BossaNovaFilms, the film is set for an 11 September release in Brazil.

Among the directors involved in the project are Paolo Sorrentino, Vicente Amorim, John Turturro, Guillermo Arriaga, Stephan Elliott, Sang-soo Im, Nadine Labaki, Fernando Meirelles, José Padilha, Carlos Saldanha and Andrucha Waddington. Actors include Fernanda Montenegro, Rodrigo Santoro, Vincent Cassel, Jason Isaacs, Cláudia Abreu, John Turturro, Emily Mortimer, Marcelo Serrado, Harvey Keitel and Vanessa Paradis.

Brazilian animated film wins top prize at Annecy Film Festival

Boy and the WorldAle Abreu’s The Boy and the World (O menino e o mundo), which screened at Festival do Rio in Première Brasil: New Trends, has taken the top prizes at the prestigious international animation festival in Annecy. The film won both the festival’s Cristal Award as well as the audience award for favourite film during the 38th festival.

This is the second year in a row that a Brazilian feature has won the top prize. In 2013 the Cristal Award went to Luiz Bolognesie’s Uma história de amor e fúria (Rio 2096).