Sound Designer
The artists of the collective As Talavistas, and Gabriela Luíza, join the artists Duca Caldeira, Dyony Moura, Jô Arllen and Vidrynha and design studio and method of filming inside a house. Two years later, SESSÃO BRUTA returns to exchange and immerses itself in a filmic game with fiction and narrative, with jokes and criticism, with close-ups and intimacy, with the presence and the remote. Cinema, culture are things taken as a perspective of link, claim, painting and stage. Refounding the scene as an idea and process, and its political and plastic implications.
Music
The artists of the collective As Talavistas, and Gabriela Luíza, join the artists Duca Caldeira, Dyony Moura, Jô Arllen and Vidrynha and design studio and method of filming inside a house. Two years later, SESSÃO BRUTA returns to exchange and immerses itself in a filmic game with fiction and narrative, with jokes and criticism, with close-ups and intimacy, with the presence and the remote. Cinema, culture are things taken as a perspective of link, claim, painting and stage. Refounding the scene as an idea and process, and its political and plastic implications.
Editor
The artists of the collective As Talavistas, and Gabriela Luíza, join the artists Duca Caldeira, Dyony Moura, Jô Arllen and Vidrynha and design studio and method of filming inside a house. Two years later, SESSÃO BRUTA returns to exchange and immerses itself in a filmic game with fiction and narrative, with jokes and criticism, with close-ups and intimacy, with the presence and the remote. Cinema, culture are things taken as a perspective of link, claim, painting and stage. Refounding the scene as an idea and process, and its political and plastic implications.
Screenplay
A tale of love and death in a world where the state of exception has become the rule and the last days of humanity never end.
Director
A tale of love and death in a world where the state of exception has become the rule and the last days of humanity never end.
Director
The destructive character sees nothing permanent. But for this very reason he sees ways everywhere. Where others encounter walls or mountains, there, too, he sees a way. But because he sees a way everywhere, he has to clear things from it everywhere. Not always by brute force; sometimes by the most refined. Because he sees ways everywhere, he always stands at a crossroads. No moment can know what the next will bring. What exists he reduces to rubble – not for the sake of rubble, but for that of the way leading through it.
Director
The Century (O Século) is both the documentary of a performance and the documentary of an allegory. Without a human figure in view, scraps, debris, and junk are thrown dramatically from one side of an alley to the other, and then a volley begins from the other side.
Writer
Living in a temporary autonomous zone, the residents spend their days dealing with small lunatic plots, quixotesque farces and rimbaudian delusions.
Director
Living in a temporary autonomous zone, the residents spend their days dealing with small lunatic plots, quixotesque farces and rimbaudian delusions.
Screenplay
Slowly we recognize traces of a couple's history. Joana, living isolated in an apartment between books and mysteries searching for an "ideal world" and Jota living on the streets searching for a confrontation with the real and trying to give back the final word to the "other"..
Director
Slowly we recognize traces of a couple's history. Joana, living isolated in an apartment between books and mysteries searching for an "ideal world" and Jota living on the streets searching for a confrontation with the real and trying to give back the final word to the "other"..
Director
At same time as it dives into excess and violence of Brazilian reality, Curra Urbana tri to insert itself in anti ilusionist modern aesthetic reinstarting a dialogue from Jean Luc Godard and some of later Brazilian apropriators especially those of Cinema Marginal.
