Joel Pizzini

The trajectory and artistic imagery of actor and director Zbigniew Ziembinski (1908-1978), precursor of modern theater in Latin America and master of generations of Brazilian actors. The polyphonic montage builds on vast unpublished material, covering half a century of performances, teletheaters and interviews by Zimba, as he was known – before and after fleeing Poland, on the eve of the invasion of Warsaw – and recreates fragments of Wedding Dress , a play by Nelson Rodrigues which the Polish-Brazilian director won a revolutionary montage in 1943.

Un cuerpo sin vida yace en mitad de un campo de soja, vestido con un traje blanco, impasible. Nadie sabe quién asesinó a Madalena, una transexual, ni cómo ni por qué.

The film recreates the Roosevelt-Rondon Scientific Expedition (1913-1914), commanded by the Brazilian colonel Cândido Mariano da Silva Rondon and former US president Theodore Roosevelt. Together, they crossed the Pantanal and Amazon Rainforest to explore the mysterious Doubt River.

The film recreates the Roosevelt-Rondon Scientific Expedition (1913-1914), commanded by the Brazilian colonel Cândido Mariano da Silva Rondon and former US president Theodore Roosevelt. Together, they crossed the Pantanal and Amazon Rainforest to explore the mysterious Doubt River.

On April 25, 1974 the iconoclastic Brazilian filmmaker Glauber Rocha was in Portugal. There, he joined the collective collective film "As Armas e o Povo". With his foreign and peculiar look, he broke the rules of conventional filmmaking.

In 1930, the Brazilian filmmaker and poet Mario Peixoto produced a masterpiece of Brazilian film history, the two hour long silent film Limite, inspired by European expressionist and avant-garde cinema. In 2014, Joel Pizzini paid homage to the film, and in particular its filmmaker, by creating a film montage using images from Limite and additional documentary material of interviews from the 1970s and 1980s. Mario Peixoto never finished another film, even though he continued to work on diverse projects. Mar de Fogo also features a freely imagined new sequence for Peixoto’s next, but never completed film as envisaged by Joel Pizzini. He tries to invoke Peixoto’s vision while making Limite and to visually explore the feeling he had when he had the inspiration for the film.

In 1930, the Brazilian filmmaker and poet Mario Peixoto produced a masterpiece of Brazilian film history, the two hour long silent film Limite, inspired by European expressionist and avant-garde cinema. In 2014, Joel Pizzini paid homage to the film, and in particular its filmmaker, by creating a film montage using images from Limite and additional documentary material of interviews from the 1970s and 1980s. Mario Peixoto never finished another film, even though he continued to work on diverse projects. Mar de Fogo also features a freely imagined new sequence for Peixoto’s next, but never completed film as envisaged by Joel Pizzini. He tries to invoke Peixoto’s vision while making Limite and to visually explore the feeling he had when he had the inspiration for the film.

In 1930, the Brazilian filmmaker and poet Mario Peixoto produced a masterpiece of Brazilian film history, the two hour long silent film Limite, inspired by European expressionist and avant-garde cinema. In 2014, Joel Pizzini paid homage to the film, and in particular its filmmaker, by creating a film montage using images from Limite and additional documentary material of interviews from the 1970s and 1980s. Mario Peixoto never finished another film, even though he continued to work on diverse projects. Mar de Fogo also features a freely imagined new sequence for Peixoto’s next, but never completed film as envisaged by Joel Pizzini. He tries to invoke Peixoto’s vision while making Limite and to visually explore the feeling he had when he had the inspiration for the film.

In 1930, the Brazilian filmmaker and poet Mario Peixoto produced a masterpiece of Brazilian film history, the two hour long silent film Limite, inspired by European expressionist and avant-garde cinema. In 2014, Joel Pizzini paid homage to the film, and in particular its filmmaker, by creating a film montage using images from Limite and additional documentary material of interviews from the 1970s and 1980s. Mario Peixoto never finished another film, even though he continued to work on diverse projects. Mar de Fogo also features a freely imagined new sequence for Peixoto’s next, but never completed film as envisaged by Joel Pizzini. He tries to invoke Peixoto’s vision while making Limite and to visually explore the feeling he had when he had the inspiration for the film.

In 1930, the Brazilian filmmaker and poet Mario Peixoto produced a masterpiece of Brazilian film history, the two hour long silent film Limite, inspired by European expressionist and avant-garde cinema. In 2014, Joel Pizzini paid homage to the film, and in particular its filmmaker, by creating a film montage using images from Limite and additional documentary material of interviews from the 1970s and 1980s. Mario Peixoto never finished another film, even though he continued to work on diverse projects. Mar de Fogo also features a freely imagined new sequence for Peixoto’s next, but never completed film as envisaged by Joel Pizzini. He tries to invoke Peixoto’s vision while making Limite and to visually explore the feeling he had when he had the inspiration for the film.

“Naked Eye” is a film-documentary of long-length of the artistic and existential universe of the singer Ney Matogrosso, which proposes to recreate through archive’s images in counterpoint with the current production of the artist, thirty-five years of career marked for inventive and transgressing spectacles, always symphonize with its time. Through a coherent boarding with its intransigent trajectory, the film intends to translate the language musical-corporal of Ney Matogrosso, trying audiovisuals resources that express signs evoked poetical politicians and in the repertoire of the singer. A film-song that that looks for to, ultimately, embody the voices of an artist who searches for a nation.

“Naked Eye” is a film-documentary of long-length of the artistic and existential universe of the singer Ney Matogrosso, which proposes to recreate through archive’s images in counterpoint with the current production of the artist, thirty-five years of career marked for inventive and transgressing spectacles, always symphonize with its time. Through a coherent boarding with its intransigent trajectory, the film intends to translate the language musical-corporal of Ney Matogrosso, trying audiovisuals resources that express signs evoked poetical politicians and in the repertoire of the singer. A film-song that that looks for to, ultimately, embody the voices of an artist who searches for a nation.

A documentary on prolific underground Brazilian filmmaker Rogério Sganzerla.

Ensayo cinematográfico narrado desde el punto de vista de Maria da Graça Sucksdorff, quien recrea su aventura en el Pantanal brasileño junto al cineasta sueco Arne Sucksdorff, desde su reunión hasta su vida de casados en Mato Grosso. Basándose tanto en sus recuerdos como en los archivos del cineasta, el documental rinde también homenaje a su ardua lucha por la preservación del bosque brasileño, a través de un retrato que es a un tiempo íntimo y político.

Ensayo cinematográfico narrado desde el punto de vista de Maria da Graça Sucksdorff, quien recrea su aventura en el Pantanal brasileño junto al cineasta sueco Arne Sucksdorff, desde su reunión hasta su vida de casados en Mato Grosso. Basándose tanto en sus recuerdos como en los archivos del cineasta, el documental rinde también homenaje a su ardua lucha por la preservación del bosque brasileño, a través de un retrato que es a un tiempo íntimo y político.

Documentary about Der Leone Have Sept Cabeças

Documentary on "Antonio das Mortes", Glauber Rocha's 1969 film.

The life and literature of Mato Grosso do Sul poet Manoel de Barros. Alternating sequences of interviews with the poet, verses from his poetry, and statements of connoisseurs of his literature, the film portrays a revealing panel of the author's language. Manoel de Barros, age 91, with some 20 books published, lives in Campo Grande. Acknowledged, the winner of several literary prizes, he is the Brazilian writer who accounts for the greatest sale in poetry in Brazil.

The director films the trains, and the unusual, ruined and desolate places they travel through. The landscape is deconstructed through a rapid succession of shots, and becomes an abstract motif: that which was a ruin thus becomes an Andalusian mosaic or Impressionist painting.

The documentary "Depois do Transe" covers the entire process of creating the masterpiece "Entranced Earth", which was released and awarded at the Cannes Film Festival in 1967. "Entranced Earth" charmed the world and won great admirers such as filmmaker Martim Scorsese and the writer Marguerite Duras, who at the time considered a "fabulous filmic opera."

A museum worker - the watchman - motivated by the homonymous painting by Giorgio De Chirico, is introduced, through everyday life, into the metaphysical universe of the Italian painter.

A museum worker - the watchman - motivated by the homonymous painting by Giorgio De Chirico, is introduced, through everyday life, into the metaphysical universe of the Italian painter.

A museum worker - the watchman - motivated by the homonymous painting by Giorgio De Chirico, is introduced, through everyday life, into the metaphysical universe of the Italian painter.

Film based on Manoel de Barros poetry. Story about poet's life in the swamp area of Brazil (Pantanal) and its wildlife; & his obsession with the sea and his new life in the big metropolis in Brazil.

Film based on Manoel de Barros poetry. Story about poet's life in the swamp area of Brazil (Pantanal) and its wildlife; & his obsession with the sea and his new life in the big metropolis in Brazil.

With death getting near, a retired officer remembers the most important passages in his life and his participation in historical events in Brazil, such as the Lieutenants' Movement, and the 1964 coup.