Renato Laclette

참여 작품

Copacabana, Mon Amour: A Restauração
Renato Laclete
A documentary on the restoration of Rogério Sganzerla's 1970 film "Copacabana, Mon Amour".
Copacabana, Mon Amour: A Restauração
Assistant Sound Engineer
A documentary on the restoration of Rogério Sganzerla's 1970 film "Copacabana, Mon Amour".
Monumento a Uruçumirim
Editor
Manifesto of the Pataxó tribe, with the testimony of the chief José Guajajara, in front of the Monument to Estácio de Sá, where the Tamoios massacre took place in 1567, on the coincident day that celebrates the foundation of the city of Rio de Janeiro, 20 January.
The Scarlet Scorpion
Director of Photography
Anjo is a millionaire playboy who fights the forces of crime, especially his deadly enemy, the arch-villain Scarlet Scorpion, who recently has kidnapped the fashion designer Glória Campos, who is in love with our hero.
Brasil
Director of Photography
João Gilberto receives Caetano Veloso, Gilberto Gil and Maria Bethânia during the recording of his album Brasil.
Noel por Noel
Director of Photography
Homage to the great Brazilian samba songwriter Noel Rosa (1910-1937).
O Gigante da América
Director of Photography
A caboclo's soul wanders through purgatory (or hell), visiting many places until he boards a ship whose destination is unknown.
The Universe of Mojica Marins
Director of Photography
A film portrait of Jose Mojica Marins.
A Brasa do Norte
Director of Photography
Film portrait of Jackson do Pandeiro.
Encarnação
Director of Photography
The Agony
Cropped hair, a rosemary branch behind the ear, yellow shirt of shiny satin, he's behind the wheel of his car when passing by a woman who walks by the roadside. Strongly painted lips, printed dress with round skirt and red shoes matching the color of the lipstick, she catches his attention. He gives her a ride, the two of them stare in silence for a few moments. They introduce themselves to one another and between the two establishes an absurd dialogue and full of metaphors. And they are driving around in corners of Rio de Janeiro, to the sound of Noel Rosa and Lamartine Babo. Eva and Antena, she a seer, he, an assassin on the run, initiate an unusual case of love, a marginal love, where boredom often gives way to tragedy, creating the agony of a holiday spent in an abyss.
The Agony
Cinematography
Cropped hair, a rosemary branch behind the ear, yellow shirt of shiny satin, he's behind the wheel of his car when passing by a woman who walks by the roadside. Strongly painted lips, printed dress with round skirt and red shoes matching the color of the lipstick, she catches his attention. He gives her a ride, the two of them stare in silence for a few moments. They introduce themselves to one another and between the two establishes an absurd dialogue and full of metaphors. And they are driving around in corners of Rio de Janeiro, to the sound of Noel Rosa and Lamartine Babo. Eva and Antena, she a seer, he, an assassin on the run, initiate an unusual case of love, a marginal love, where boredom often gives way to tragedy, creating the agony of a holiday spent in an abyss.
O Rei do Baralho
Camera Operator
In a movie studio, the actors are getting made up and the crew is waiting to begin shooting the film. Grande Otelo, the bungling "king of the deck", and Marta Anderson, the blond and provocative star of the show, recite in the historical scenario of the chanchadas, the abandoned studios of Cinédia. "The photography is splendid, it is a sort of parallel song, of critique, of parody, of understanding of a certain light typical of Brazilian cinema of the times, already re-created, already stylized. And with the older actors, Otelo, Lewgoy and the others, something very important happened in the artistic perception, seeing again, doing again, it was already a concrete metalanguage" (J. Bressane).
O Rei do Baralho
Cinematography
In a movie studio, the actors are getting made up and the crew is waiting to begin shooting the film. Grande Otelo, the bungling "king of the deck", and Marta Anderson, the blond and provocative star of the show, recite in the historical scenario of the chanchadas, the abandoned studios of Cinédia. "The photography is splendid, it is a sort of parallel song, of critique, of parody, of understanding of a certain light typical of Brazilian cinema of the times, already re-created, already stylized. And with the older actors, Otelo, Lewgoy and the others, something very important happened in the artistic perception, seeing again, doing again, it was already a concrete metalanguage" (J. Bressane).
O Monstro Caraíba
Director of Photography
Passe Livre
Director of Photography
O Que Eu Vi, O Que Nós Veremos
Cinematography
The life of the brazilian aviator Alberto Santos Dumont.
Moreira da Silva
Director of Photography
Musical documentary focused on the iconic figure of singer and songwriter Antônio Moreira da Silva, also known as Kid Morangueira. Inventor of a way of singing called "samba de breque", at 70 he's in full shape, dressed in a white suit and panama hat, singing his best known songs at a number of places.
S. Bernardo
Assistant Camera
The story of Paulo Honório, a poor ploughman who becomes a rich farmer. Obsessed by his desire to get even richer, he doesn't pay much attention to his wife, Madalena, a teacher who reacts against his tyrannical ways.
A Família do Barulho
Director of Photography
A dysfunctional family, composed of a prostitute and two gays, one strong and the other fragile and stupid, lives a routine life in Rio de Janeiro. When the slut threatens the other two to stop supporting them, they decide to find an odalisque as an alternative to keep their easy life.
Copacabana Mon Amour
Director of Photography
Sônia and her homosexual brother are both believed by their mother to be possessed by the devil. She works as a prostitute in the streets of Copacabana and he’s a servant who falls madly in love with his employer.
Baron Olavo, the Horrible
Director of Photography
Bressane’s first color film, shot in the home of the artist Elyseu Visconti. Part of it is missing sound and final editing because the director was forced to leave Brazil. Horror and humor to deal with the subject of insanity: “In the end everyone leaves the house as though they were laboratory mice escaping, they invade the city and contaminate the world”. “If we talk about horror, this film deals with national horror, with Mojica Marins as an emblem. There might be a few touches of Corman and English horror, but it is another level of horror. What transformed the film was the location where we were shooting, the house of a 19th century painter, a receptacle of light. When I arrived and saw that house, that light, I said: ‘This is the film. This is the horror’. The meaning of the film, its appeal, derives from this laboratory of light” (J. Bressane). — Torino Film Festival
The Monsters of Babaloo
Cinematography
Daily scenes of a grotesque family living in the metaphorical island of Babaloo.