Grupo de Bagé was an artistic movement that emerged in Rio Grande do Sul in the 1940s, led by painters and engravers Glênio Bianchetti, Glauco Rodrigues, Carlos Scliar and Danúbio Gonçalves. Linked to Taller de Gráfica Popular do México and the Communist Party, they turned printmaking into a way of popularizing art, with realistic themes and social denunciation. The documentary reveals the appropriation of these artists of the brazilian arts, from the pampas in Rio Grande do Sul to the palaces of Brasília.
Interpretation of the artist's work and life from fragments of his performances, installations and works. With diversified material, starting with the pyramid of the Louvre, it records the creative and affective universe of one of the greatest plastic artists of the contemporary world. Before being a documentary, it is an espionage carried out without fear of self-incrimination.
Self
The artist Cildo Meireles in search of the sound of Brazil's main water basins in order to construct the sound sculpture Rio:Oir (River:Hear) created from the play on words and concepts. From Foz do Iguaçu to the Pororoca of Macapá, from the Águas Emendadas Park to the mouth of the São Francisco river, and later, in a studio, gathering the pieces and matching them to the cacophony of residual waters and human laughter.
The documentary "Listening to the River" reveals the artist's simplicity, the relation of region's inhabitants with water, and it enhances our perception between sound and image.
Himself
An affective approach to the relationship between Mário Pedrosa, one of the greatest art critics of the 20th century, and some of the most important Brazilian artists takes the viewer on a journey through Brazilian art from the 1950s.
Documentary discusses the definition, birth and consecration of artistic creation with testimonies from Eduardo Sued, Carlos Vergara, Beatriz Milhazes, Cildo Meireles and Ernesto Neto.
A Brazilian avant-garde film matching the image of John Wayne on horseback to incongruous discourse in Portuguese.
Fragments of a film never finished, shot in New York in 1972, including scenes in the home of Hélio Oiticica. Last film made in exile by Bressane, it mimics the experimental concept of "quasi-cinema" by Hélio Oiticica. It consists of a fragmentary experience of freedom, in super-8 and 16mm, in a code out of time, out of the square, while recreating (with different cameras) the wild and sensitive look that Oiticica dedicated to cinema.
