segunda-feira, 14 de março de 2011

Convite de um eterno desocupado.

A MFL completa 10 anos e pra comemorar vai realizar uma retrospectiva de vários filmes que fazem parte da história da mostra. Convido a todos a ver e rever o documentário  "Entre o Terreiro e a Cozinha".  Me orgulha muito fazer parte dessa história. Vida a MFL!!!!!!


Retrô 14

Retrospectiva MFL 10 anos

Quando: 18-03-2011 às 16:00h (Sexta-feira)
Local: São Paulo - Cinema
Duração: 90 minutos 


  • Dia 18-03-2011 (Sexta-feira)
  •   16:00 - Retrô 14 `
  • Dia 30-03-2011 (Quarta-feira)
  •   18:00 - Retrô 14 (Rio de Janeiro - Cinema 1)

    "O Menino que colhia cascas" ou "The boy who collected skins"  chega em terras francesas. O vídeo foi selecionado para a competição do Prix de la Création Vidéo 2011 do festival francês  VIDEOFORMES  - festival art video arts numerique clermont ferrand culture performances installations expositions contemporain.
    A mostra realizada desde 1984, tornando-se um observatório permanente das evoluções do video, cultura digital e da arte contemporânea.

    Taí mais um convite pra galera, dessa vez pros amigos da gringa!!!


    Thursday March 17 - 8.15PM - Petit Vélo

    La Conspiration du Cerveau /Didier Feldmann aka Videopaper/France/2010/5'45
    The Conspiracy of Brain : surrealist attempt to give a response to fundamental questions that Humanity ask herself for several centuries  : why do dictators wear a mustache ? Why do love stories end badly ? Why do not children love their parent ? Why do psychoanalyst wear glasses ?
    White City Song/Ludivine Sibelle/France/2010/6'22
    Nablus, West Bank, Palestine. Just recalling this territory is sufficient to appeal
    to mass imaginary, a repertoire made up of media images of destroyed cities,
    killed, and soldiers.
    Bloodstream/Alessandro Amaducci /Italie/2009/7'15
    The struggle between the inner and the outer.
    The boy who collected skins/Joacélio Batista/Brésil/2010/13'44
    In the edge of the river the boy collect empty skinss in front of the uncertainty of the almost afternoon, almost night.
    Aisha in Wonderland/Zafer Topaloglu/Pays-Bas/2010/3'
    Aisha in Wonderland looks at one of the most challenging ramifications of Israel-Palestine conflict: the state of individuals being exposed to emotional violence in a refugee camp, ‘Mar Elias’ in Lebanon in which various organizations, communities and groups rightfully manifest, via various ways of representations, struggle against Israel.
    Let's Play Games /Marko Ubovic /Serbie/2010/5'
    Every boy plays with them. But are these toys as harmless as they seem?
    Les sentiments/Pascale Weber/France/2010/4'23
    A woman remembers just when she falled in love.  
    She describes in details the moment when she got off the train,  she walked along the platform and met up a man. She understood suddendly, she would throw herself into his arms.
    I call myself sane/Niina Suominen/Finlande/2010/4'20
    An experimental work combining poetry, music and image executed by manipulating film material.
    Last Day of the Republic/Reynold Reynolds/USA/2010/8'
    The Palast der Republik opened in 1976 as a meeting place for the East German people and an emblem of the future. the unique modern building made of distinctive golden-mirrored windows was home to not just the East German Parliament but also auditoriums, art galleries, five restaurants, concert halls, and even a bowling alley. Later, thousands of citizens demonstrated against the planned demolition , but alas, one day, twenty years after the fall of the Berlin wall, the Palace completely disappeared.
    Dead sEEquences/Fabio Scacchioli/Italie/2009/4'10
    This is a study about the vanishing of an image."Dead SEEquences" is composed of 3775 frames. Working frame by frame, we find that nothing happens inside each single image, but all pass between the frames, in the invisible gap that separe one by others. The film is here, but there isn't anything to see, the most important remain invisible and uncertain. There is no truth to discover. The truth is always elsewhere.

    Body of war/Isabel Rocamora/Espagne/2010/21'27
    Body of War reflects on how a man becomes a soldier through the relentless repetition of acts of violence. Set in the Normandy Landing geography, punctuated by testimonies of serving soldiers, a visceral hand-to-hand combat is gradually deconstructed – inviting the viewer to engage in the relationship between intimacy and brutality.
    The Two Names of A Testimony About The Execution of A Happening and A Suitcase Full of Broken Records/Ozan Adam/Turquie/2010/15'
    Visual poem about dreams.

    O menino que colhia cascas, Premiado na MFL 2011

    É um enorme prazer informar que o vídeo, "O menino que colhia cascas" recebeu o Troféu Filme Livre  na Mostra do Filme Livre - MFL 2011. Convido a todos amigos que estiverem no Rio e em Sampa  a comparecerem a mostra. 

    Este ano MFL completa seus primeiros 10 anos, consolidando-se como a mais democratica mostra do audiovisual brasileiro.

    Valeu Moçada!!!

    Segue abaixo o texto de Juliano Gomes a respeito das cascas.

    O MENINO QUE COLHIA CASCAS, de Joacélio Batista

    O foco aqui são as cascas, a porção exterior das coisas. Uma grande brincadeira de trocas: casa em construção, carcaças de insetos, sacos plásticos, homens sem rosto, um menino que é todos e tudo (e também nenhum). O estado do filme é desta indefinição, dessa possibilidade de troca destes materiais e superfícies, onde não há nada dentro para ver. Um estudo sobre o translúcido. Sobre as possibilidades de passagem da luz nos objetos e nos corpos. A montagem opera estas trocas e variações de estados a partir das matérias que não param de se adicionar umas às outras: menino, inseto, plástico. Uma obra como possibilidade de expansão, como mecanismo de mutações, que opta pela infância como um lugar de instabilidade das formas, como possibilidade de indecisão. Afinal, um elogio às superfícies como lugar de passagem da luz e dos sentidos. (Juliano Gomes)

    Panorama 7


    Local: Rio de Janeiro -  CCBB-RJ - Cinema 1 

    Duração: 78 minutos 

    Toda programação da MFL.

    • Dia 18-03-2011 (Sexta-feira)
    •   17:30 - Panorama 7 (Rio de Janeiro - CCBB-RJ  -Cinema 1)
    • Dia 21-03-2011 (Segunda-feira)
    •   19:00 - Cineclube Cinema Paraíso (FFP/UERJ - Rua Dr. Francisco Portela, 1470, Sala 335 - Patronato - São Gonçalo - RJ)
    • Dia 24-03-2011 (Quinta-feira)
    •   19:30 - Panorama 7 (Rio de Janeiro - CCBB-RJ  - Cinema 2)
    • Dia 25-03-2011 (Sexta-feira)
    •   18:00 - Panorama 7 (São Paulo - CCBB-SP - Cinema)
    • Dia 28-03-2011 (Segunda-feira)
    •   19:00 - Cineclube Cinema Paraíso (FFP/UERJ - Rua Dr. Francisco Portela, 1470, Sala 335 - Patronato - São Gonçalo - RJ)
    • Dia 12-04-2011 (Terça-feira)
    •   20:00 - Cineclube Ouro Verde (Rua Marcel Pinto de Oliveira S/N - Baurú - SP)
    • Dia 16-04-2011 (Sábado)
    •   16:30 - Tintin Cineclube (Av. João Machado, nº 67, Centro. João Pessoa - PB)
    • Dia 20-04-2011 (Quarta-feira)
    •   19:00 - Cineclube Nós na Fita (Espaço Olho Vivo - Rua José Cabral, 45 - Morro do Estado - Niterói - RJ)

    VIP - VideoChannel Interview Project

    Entrevista ao Vip - Video Channel Interview Projetct, na ocasião do  VI Cologne off and Cologne off 2011   videoart in a global context . O documetário "Bolívia te Extraño", realizado em pareceria com Dellani Lima, faz parte da seleção do festival. 
    O site tem entrevistas com videoastas de várias parte do mundo.

    1. Tell me something about your life and the educational background
    My first contact with the arts was through the comic books and cartoons animation, This led me to join the Escola de Belas Artes Of the e Universidade Federal de Minas Gerais, (Fine arts school of Federal University of Minas Gerais- UFMG), Belo Horizonte, Brazil. I’m gradudated in animation in 2001 and drawing in 2003. Since then I have been producing works between cinema and the arts.
    2. When, how and why started you filming?
    At university I did my first experiments in the animation course.Everything was very precarious. We need to adapt with resorces we had. The focus on Drawing course at UFMG was on conceptual and contemporary art, this added to what he had learned in the animation course bring me closer with video art. After I left the University I was invited to an exchange between videomakers in South África, that was a really great experience There I fell the taste for video and documentaries. And I was infeceted by the “vídeo vírus” and I cant stop to do that.
    3. What kind of subjects have your films?
    The feedback that people give about my vídeo usully show me that my main subject is the solitude. In fact, lonely characters are a constant in my work. . But for me I try to show with my work the place that human being occupy in the world.
    4. How do you develop your films, do you follow certain principles, styles etc?
    It is a very intuitive process. The best work came out on impulse. I has a picture in my head and keep myself on it until finish the idea. I try not to stay just in on style and seeking new ways to produce videos. This challenge takes me on. In my current research I try to blend elements of horror movies with an video art`s aesthetic.
    5. Tell me something about the technical equipment you use.
    A depends lots of the situation and what I want to do. In college, everything was very precarious, We had no access to equipement, early we learned to produce with the possibilities that we had. That was very important because we learn to improvise and do whatever possible with few options. Or you was creative or couldn’t do anything. I`m stay with this vision about how to make vídeos. If we had a cell phone to make the images we have keeping with it and try to make the best possible.
    6. The field of “art and moving images” (one may call it videoart or also differently) is representing an important counter position in contemporary art. Tell me more about your personal position and how you see the future of this field ( your personal future and the future of “art and moving images”)
    If in my childhood, I could realized what happens today, I would say that I live in a sci-fi world. Apartthe tools that we have available today and resources that comes in close future, the potential poetic of each artist always ben the most important.
    7. How do you finance your films?
    Usually the money for my work comes from my own pocket. Today, the easy access to video stuff, combined with my production mode, allows made my Projects financially viable , with my parallels works.
    8. Do you work individually as a video artist/film maker or do you work in a team?
    I work in the both ways, I have my solo projects and also with a friends. The “Colégio invisievel” artistic collective that I belong is where these partnerships happen. Especially with the long-time friend Dellani Lima.
    if you have experience in both, what is the difference, what do you prefer?
    Work “alone” makes me fell a false sense absolute control of my work. That makes everything easier for me. When I share a project I looking for friendship aesthetic support as Dellani Lima. He can see the images that I record and thing thinks that i can`t saw before. I know that when I give to him a raw material. He understand the whole context about my images. That kind of sensitivity, plus his own poetic, enhances the entire project. With that I’m more relaxed with the “lost of control”, and the result, and always suprise me.
    9. Who or what has a lasting influence on your film/video making?
    I could talk about several video/filmmakers who showed me that it was possible to became real the images that I got inside my head. Jan Svankmajer, Norman McLarenand Bill Violla, each one in their way, always be big influence for me. But I can’t see them as kind of triggers inspiration for my production. I Depending on the environment that I’m in, to inspire me. Can be a little lizard on the wall, a empty bug skin, or one of my grandmother histories. Those little things make the magic happen.
    10. What are your plans or dreams as a film/video maker?
    That’s what I can do. While I can produce my work, I’ll continue on this way.