15th MIFF-2018 -Mumbai International Film Festival - Films Selected for National Competition Section

  

Mumbai International Film Festival Documentary | Short | Animation (28 JAN – 03 FEB 2018)

National Competition

LIST OF FILMS SELECTED FOR NATIONAL COMPETITION SECTION IN MIFF-2018
Sr. No.	Title In English	Duration in mins	Category	Director
1	Kali	66	Documentary Film (above 60 minutes)	Subrata Sen
2	THE BOOKS WE MADE	68	Documentary Film (above 60 minutes)	ANUPAMA CHANDRA & UMADEVI TANUKU
3	LUCKNOW 1920-1949	66	Documentary Film (above 60 minutes)	UMA CHAKRAVARTI
4	ASK THE SEXPERT	83	Documentary Film (above 60 minutes)	Vaishali Sinha
5	Santhal Family to Mill Re-call	112	Documentary Film (above 60 minutes)	RV Ramani
6	Naachi Se Baanchi	70	Documentary Film (above 60 minutes)	Biju Toppo, Meghnath
7	Living The Natural Way	78	Documentary Film (above 60 minutes)	Sanjib Parasar
8	1984,When the Sun didn’t Rise	57	Documentary Film (upto 60 minutes)	Teenaa Kaur
9	VEIL DONE	30	Documentary Film (upto 60 minutes)	Juhi Bhatt
10	Withering House	26	Documentary Film (upto 60 minutes)	Shreyas Dasharathe
11	The Loss of Western Gahts	23	Documentary Film (upto 60 minutes)	Biju Pankaj
12	WORK OF FIRE	52	Documentary Film (upto 60 minutes)	K R Manoj
13	For Susan	25	Documentary Film (upto 60 minutes)	Arunima Tenzin Tara
14	Ima Sabitri	57	Documentary Film (upto 60 minutes)	Bobo Khuraijam
15	In the Shade of Fallen Chinar	17	Documentary Film (upto 60 minutes)	Fazil Nc & Shawn Sebastian
16	SOME STORIES AROUND WITCHES	53	Documentary Film (upto 60 minutes)	LIPIKA SINGH DARAI
17	Thankamma	14	Documentary Film (upto 60 minutes)	Ramabhadran B
18	I am Jeeja	28	Documentary Film (upto 60 minutes)	Swati Chakraborty
19	Chasing Tails	49	Documentary Film (upto 60 minutes)	Tangella Madhavi
20	The Eyes of Darkness	54	Documentary Film (upto 60 minutes)	Amitabh Parashar
21	Vanishing Glacier	52	Documentary Film (upto 60 minutes)	Raja Shabir Khan
22	Khidkee	30	Short Fiction Film (upto 45 mins.)	Rohan Parshuram Kanawade
23	Beloved	18	Short Fiction Film (upto 45 mins.)	Ranjan Chandel
24	Sopanam	12	Short Fiction Film (upto 45 mins.)	Sharan Venugopal
25	Nest	28	Short Fiction Film (upto 45 mins.)	Saurav Rai
26	Post Mortem	25	Short Fiction Film (upto 45 mins.)	Vinod Kamble
27	Conversation	22	Short Fiction Film (upto 45 mins.)	Harshal Wadkar
28	Paro	26	Short Fiction Film (upto 45 mins.)	VIjay Kumar
29	VAISHALI	9	Short Fiction Film (upto 45 mins.)	PRACHI SHARMA
30	Aaki	14	Short Fiction Film (upto 45 mins.)	Harshwardhan Bhalerao
31	Sakhisona	26	Short Fiction Film (upto 45 mins.)	Prantik Basu
32	Catharsis	34	Short Fiction Film (upto 45 mins.)	Indira P
33	InstaStories	25	Short Fiction Film (upto 45 mins.)	Kislay
34	Pressure Cooker	16	Short Fiction Film (upto 45 mins.)	Heena Dsouza
35	Mazhabi Laddu	25	Short Fiction Film (upto 45 mins.)	Saurabh Tyagi
36	SCARECROW	15	Short Fiction Film (upto 45 mins.)	MAINAK GUHA
37	TASTE ALTERNATE	10	Short Fiction Film (upto 45 mins.)	THEERTHA MYTHRY
38	TERRORIST	6	Short Fiction Film (upto 45 mins.)	ASHUTOSH JHA
39	The Waterfall	20	Short Fiction Film (upto 45 mins.)	Lipika Singh Darai
40	DUALITY	15	Short Fiction Film (upto 45 mins.)	VISHAL VASANT AHIRE
41	The Threshold	30	Short Fiction Film (upto 45 mins.)	Nishant Roy Bombarde
42	Comeback WOOL E	10	Animation Film	Sumanta Ghosh
43	Tokri (The Basket)	15	Animation Film	Suresh Eriyat

15th MIFF 2018-Mumbai International Film Festival-Films selected in International Competition

Mumbai International Film Festival Documentary | Short | Animation (28 JAN – 03 FEB 2018)

International Competition

LIST OF FILM SELECTED FOR INTERNATIONAL COMPETITION SECTION IN MIFF-2018
Sr. No.	Title In English	Country	Duration in mins	Category	Director
1	Campus Rising	India	74	Documentary Film (Any Duration)	Yousuf Saeed
2	The Dispossessed	Canada	183	Documentary Film (Any Duration)	Mathieu Roy
3	Abdul & Jose	Australia	52	Documentary Film (Any Duration)	Luigi Acquisto & Lurdes Pires
4	SALAM	United States	75	Documentary Film (Any Duration)	Anand Kamalakar
5	RICE	United Kingdom	35	Documentary Film (Any Duration)	David Blamey
6	Atul	India	52	Documentary Film (Any Duration)	Kamal Swaroop
7	3 Seconds Divorce	Canada	54	Documentary Film (Any Duration)	Shazia Javed
8	Charlie vs Goliath	United States	80	Documentary Film (Any Duration)	Reed Lindsay
9	The Cinema Travellers	India	96	Documentary Film (Any Duration)	Shirley Abraham & Amit Madheshiya
10	Surabhi Family, In Life In Drama	France	52	Documentary Film (Any Duration)	“Neeta Jain Duhaut“
11	THE BAULKHAM HILLS AFRICAN LADIES TROUPE	Australia	84	Documentary Film (Any Duration)	Ros Horin
12	VELVET REVOLUTION	India	56	Documentary Film (Any Duration)	Nupur Basu
13	Brother Jakob, are you sleeping?	Austria	86	Documentary Film (Any Duration)	Stefan Bohun
14	The Poetics of Fragility	United States	64	Documentary Film (Any Duration)	Nicolas Grandi & Lata Mani
15	A Brave Bunch. Uprising through children’s eyes.	Poland	29	Documentary Film (Any Duration)	Tomasz Stankiewicz
16	I am Bonnie	India	45	Documentary Film (Any Duration)	Satarupa Santra, Farha Khatun,Sourabh Kanti Dutta
17	Earth Crusader	India	55	Documentary Film (Any Duration)	Shabnam Sukhdev
18	My Secret Forest	Finland	56	Documentary Film (Any Duration)	Niina Brandt
19	Born Together	Bangladesh	72	Documentary Film (Any Duration)	Shabnam Ferdousi
20	Grandfather	India	22	Short Fiction Film (upto 45 mints.)	Amar Kaushik
21	THAT GUSTY MORNING	India	22	Short Fiction Film (upto 45 mints.)	Jahnu Barua
22	MY TURN	South Korea	15	Short Fiction Film (upto 45 mints.)	“Nakyung Kim“
23	The Egg	Israel	19	Short Fiction Film (upto 45 mints.)	Nadav Direktor
24	ICE	France / Estonia	15	Short Fiction Film (upto 45 mints.)	Anna Hints
25	Wabi Sabi	Singapore	25	Short Fiction Film (upto 45 mints.)	Anshul Tiwari

15th MIFF 2018- DELEGATE REGISTRATION OPEN

The delegate registration of 15th Mumbai International Film Festival ,which is scheduled to open on 28th January ,2018  is open.More details can be had from www.miff.in

First South Asian Short Film Festival - March 2018 -Kolkatta-Call for entries

CALL: 1st SOUTH ASIAN SHORT FILM FESTIVAL: SASFF-2018
Organized by: Federation of Film Societies of India, Eastern Region. C-7 Bharat Bhaban (2nd floor), 3 C. R. Av. Kolkata-700072.
Deadline: 31st December 2017.
Rules & Regulations:
Date & Venue: March 2018, Kolkata.
*Short Fictions (maximum 30 minutes) and Documentaries (maximum 60 minutes) made after 1st January 2015 in India, Bangladesh, Sri Lanka, Nepal, Bhutan, Pakistan, Afghanistan and Maldives are eligible.

*Sections: 1. Competitive and 2. Panorama (Non-Competitive)
* Cash Awards (For Competitive Section):
1. Satyajit Ray Award for the Best Documentary.
2. Ritwik Ghatak Award for the Best Fiction.
3. Hiralal Sen Award for Special Jury Mention.
4. Some More Awards will be declared later.

*Entry Fee: Rs.1,000 (or 20 USD). Entry Fee will be Refunded if Not Selected for in any of the Sections: Competitive or Panorama (Non-Competitive). Entry Fee should be deposited to the following bank a/c:
FEDERATION OF FILM SOCIETIES OF INDIA.
Current A/C No. 400520110000326.
IFSC- BKID0004005.
BANK OF INDIA.
Chowringhee Square Branch, Kolkata.
Phone: +91-9433561571.
* How to Apply On-Line:
1. Fill up the following Entry Form, Copy/Paste the same as Mail-Text and mail it directly to: <ffsi.kolkata@gmail.com> positively with Cc to <pmfilm@gmail.com>.
2. While mailing, do not forget to mention in the Subject: "SASFF-2018/........ (Title of the Film)"
3. Attach the image of the poster of the film and profile picture of the director as JPG files.
4. Send the film through Vimeo or Google Transfer or any other platform preferably with password protection. Mention the URL (with password, if any) in the body of the Mail-Text (at Sl. No. 25 of the Entry Form).

ENTRY FORM
1. English Title:
2. Original Title:
3. Duration:
4. Genre (Fiction / Documentary):
5. Year of Production:
6. Country:
7. Language:
8. Whether Subtitled in English:
9. Synopsis (max. 60 words):
10. Whether Participated in any Festival (if yes, names and years of the festivals where participated):
11. Whether Received any Award/Honor (if yes, names and years of the festivals):
12. Name, Mobile No and E-Mail id of the Director:
13. Name, Mobile No and E-Mail id of the Producer:
14. Name, Mobile No and E-Mail id of the Right Owner:
15. Name of the DOP:
16. Name of the Editor:
17. Lead Cast (max. 03 names):
18. Details of Entry Fee Deposited:
19. Link (URL) with Password (if any):
20. Signature of Right Owner (not required if the applicant is the Right-Owner and applying from her/his own mail id):

https://www.facebook.com/South-Asian-Short-Film-Festival-SASFF-859253580906052/

22nd IFFK-International Film Festival of Kerala 2017-Wajib,directed by Annemarie Jacir from Palestine won the Suwarna Chakoram (Golden Pheasant Crow )

The 22^nd  edition of the International Film Festival of Kerala (22 nd IFFK 2017) concluded this evening ,with the Award presentation ceremony and Screening of the film Wajib which won the Suwarna Chakoram (Golden Pheasant Crow )at Nishagandhi Auditorium,Thiruvananthapuram. 

This year’s Lifetime Achievement Award was conferred to iconic Russian director Alexander Sokurov by A.K.Balan ,Minister for Cultural Affairs,Govt.of Kerala, who presided over the function.The festival opened on 8th December  with the film 'Insult' directed by Ziad Doueiri .Aravindan memorial lecture by Aparna Sen ,Trevor Jamieson in conversation with Bina Paul,Anup Singh in Conversation with KM Kamal, Alexander Sokurov in conversation with film C.S. Venkiteswaran, K P Kumaran in conversation with Meera Sahib Meet the director moderated by MeeraSahib,P K Nair Colloquium  on the ‘Tradition of Dissent’, ‘Women in Cinema Collective Stall’  were other functions.

                                                                                                                               

Rani George, Secretary to Government welcomed the gathering and Kamal, IFFK Festival Director presented the report. Beena Paul Artistic Director of announced the awards in the presence of the respective juries. Mahesh Panchu , Secretary, Chalachitra Academy proposed a vote of thanks. Following the Closing Ceremony  and Award presentation, the film WAJIB  was screened.

Wajib,directed by       Annemarie Jacir from Palestine won the Suwarna Chakoram (Golden Pheasant Crow )   A  Memento ,Certificate and an award price of 15 Lacs was presented to her.Rajatha Chakoram (Silver Pheasant Crow )  for the Best Director was  given to        Anucha Boonyawatana for the film Malila- The Farewell Flower. Certificate, Memento & award Price INR 4 Lacs/‐. Rajatha Chakoram for the Best Debut Director was given to Sanju Surendran for his film Eden. The film is from malayalam. Award :Certificate, Memento & INR 3 Lacs/‐.Special Jury prize to Candelaria directed byJhonny Hendrix. FIPRESCI Award: Best Film in Competition bagged by Newton , a film from India  and directed by Amit V.Masoorkar  Award: Certificate and Memento. FIPRESCI Award: Best Malayalam Film won by Sanju Surendran for his film Eden  . Award: Certificate & Memento.NETPAC Award: Best Asian Film Award: Certificate & Memento  : Newton , a film from India  and directed by Amit V.Masoorkar. NETPAC Award: Best Malayalam Film  Booty and the Witness  , a film from India  and directed by Dileesh Pothen.  Award: Certificate& Memento. Rajatha Chakoram for best film selected by Audience :The Audience Poll Award goes to ‘I Still hide to smoke’,a film directed by  Rayana .Award: Certificate, Memento & INR 2 Lacs/‐

Report presented by Jury Chairman at the Conclusion of the festival The International Jury at the 22nd International Film Festival of Kerala, held between the 8th - 15th Dec 2017, at Thiruvanthapuram, consisting of 1) Marco Mueller (Chairman) 2) Mary Stephen 3) T V Chandran 4) Aboubaker Sanago Has viewed 14 films in the International Competition and made the following recommendations: 1) Rajatha Chakoram for the Best Debut Director: Film: Aedan / The Garden of Desire by SanjuSurendran from India Citation: By unanimous vote, the RajathaChakoram award for Best Debut Director goes to SanjuSurendran for his film Aedan / Garden of Desire. The jury was impressed by the freshness and boldness of the director’s cinematic vision and deployment of film language and wished to welcome a promising new voice in the cinema. 2) Rajatha Chakoram for the Best Director: Film: Malila / The Farewell Flower by Anucha Boonyawatana from Thailand Citation: The RajathaChakoram award for Best Director goes to Ms. Anucha Boonyawatana from Thailand for her film Malila / The Farewell Flower. The jury was impressed by the seamless way in which the director merged the physical and metaphysical quest of her characters, producing a film at once powerfully sensuous, yet also deeply meditative. 3) Suvarna Chakoram for the Best Film: Film: Wajib Director: Annemarie Jacir from Palestine Citation: The SuvarnaChakoram for Best Film goes to Wajib directed by Annemarie Jacir from Palestine. The jury wished to reward the profoundly subtle ways in which the director, through the intimacy of family conflicts, hopes and regrets, succeeds in painting a compelling portrait of contemporary Palestinian Society as it copes with its Israeli neighbours in a highly volatile political space 4) Special Mentions or Jury Prizes (if any) with name of Film and Citation By unanimous decision, the jury presents a Special Mention to the film Candelaria, directed by Johnny Hendrix from Columbia for its loving celebration of resilient third age in a time of crisis.

22nd International Film Festival of Kerala 2017-The Insult-Opening Film

The Insult (L'insulte) ,Lebanese film  directed by Ziad Doueiri, will open the 22 edition of International Film Festival of Kerala (IFFK).

An insult grown out of proportion and brought them in court .This  Ziad Doueiri film was in competition at the Venice Film Festival ,then travelled to Telluride and Toronto, where his terrorism-themed “The Attack” premiered five years earlier,"In today's Beirut, a civilian dispute blown out of proportion finds Tony (Adel Karam), a Lebanese Christian, and Yasser (Kamel El Basha), a Palestinian refugee, facing off in court. As the media circus surrounding the case threatens a social explosion in divided Lebanon, Tony and Yasser reconsider their values and beliefs as revelations of trauma complicate their understanding of one another"

"The tinderbox of Lebanese politics and identity sparks into a controlled conflagration in Ziad  Doueiri's calculatedly explosive drama The Insult Conceived as a classic story of how a not-so-simple insult can escalate into a nationwide crisis, the film pits a belligerent Lebanese Christian mechanic with a traumatic past against an older Palestinian Muslim still unable to quietly suffer the ever-present verbal and institutional barbs against his dignity..... Doueiri sets out the issues in an easily understood, rather too obvious manner, shifting into the courtroom where the proceedings resemble one of those “Law & Order” episodes that deal with a “sensitive” topic such as abortion. Both sides get an impassioned defense, and yet, like Lebanon as a whole, there’s a whole lot talk and zero accountability"(Variety )

22 nd International Film Festival of India 2017 - My Selection

 My Selection

1.Insult

2.Pomegranate Orchard

3.Redoubtable

4.The Square

5.Goliath

6.Day Break

7.Euthanizer

8.Estebar

9.Poroca

9.Colo

10.Art of Living

11.Nude

12.Angel Wear White

13.Redoubtable

14.Spoor

15.Grain

16.120 Beats Per Minute

17.Loveless

18.The Swan

19.Kupal,

20.Khibula,

21.Birds are singing

22.Amok

23.Newton.

24.MenDon’t cry

25.Oblivion

26.Scary Mother

27  Brothers &

29.Mother

30 .Birds are Singing in Kigali.

22 nd International Film Festival of Kerala 2017 - Jury International Competition-Marco Muller ,Jury Chairperson.

Jury 2017

International Jury

Marco Muller ( JURY CHAIRMAN )

Film critic , Film Producer and Artistic Director

A well known Film critic and historian, Muller was the director and writer of documentaries about cinema. Now working as Professor at the Academy of Architecture, Universitàdella SvizzeraItaliana, Marco Muller Started working in 1978 as a festival programmer in Italy. He was director of “Ombreelettriche” (Electric Shadows) Festival in Turin (1981). Subsequently he was the director of the festivals of Pesaro (1982-1989), Rotterdam (1989-1991), Locarno (1992-2000), and Venice Film Festival (2004-2011) and of Rome Film Festival (2012-2014). He has produced and co-produced 14 features and has also produced short-films and documentaries.

T V Chandran

Film Director, Screenwriter and Actor

T V Chandran is an Indian film director, screenwriter, and actor, predominantly working in Malayalam cinema. He started his film career as an assistant director to P. A. Backer and John Abraham. He made his directorial debut with the unreleased feature Krishnan Kutty (1981). Chandran came into prominence after Alicinte Anveshanam (1989), which was nominated for the Golden Leopard at the Locarno International Film Festival. Ponthan Mada (1993)is his most famous film to-date. His trilogy on 2002 Gujarat riots, consisting of Kathavasheshan (2004), Vilapangalkappuram (2008) and Bhoomiyude Avakashikal (2012) are worth mentioning.

Marlon Moreno

Actor

Marlon Moreno is an acclaimed film actor born in Cali, Colombia. Marlon debuted in the telenovela Gentefresca. Then he filmed Milena where played the role of Carlos and soon after he participated in La Mujer del Presidente where he played the role of Victor Leal which made Moreno famous as a talented actor. Later on in the 1990s, he participated in numerous telenovelas like Sin límites, La Dama del Pantano, La Reina de Queens, El Precio del Silencio, and Pandillas, Guerra y Paz to name a few. La Saga Negocio de Familia, a telenovela that is considered one of the best from all times. Moreno also participated in movies like El Rey, Soñar no cuesta nada, Heridas, La Beca, and Perro come perro.

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Mary Stephen

Film Editor

Born in Hong Kong, graduate of Concordia University in Montreal , Mary Stephen has been living in Paris since the 1980s. She collaborated with French New Wave director Eric Rohmer for more than 25 years as his film editor and co-composer, starting as assistant to Rohmer’s then-chief-editor Cécile Décugis (who edited for Truffaut, Rohmer, Godard including the legendary Breathless). Mary then became Rohmer’s chief-editor from 1991 Winter’s Tale to his last feature 'The Romance of Astrea and Celadon' (2007). A partial list of her work includes Ann Hui’s latest feature 'Our Time Will Come' and 'The Headmaster', the omnibus film '8 and ½'.

Aboubacker Sanogo

Film scholar and Curator

Aboubakar Sanogo is a film scholar and curator currently working on Carleton University as Assistant Professor in Film Studies. He received in MA (2001) and Ph.D. (2009) in Critical Studies from the School of Cinematic Arts of the University of Southern California in Los Angeles. Sanogo is also the founder of the Carleton University World Cinema Forum which seeks to study national, regional, continental and global film cultures, institutions, stakeholders and debates with the ultimate goal of establishing Carleton as a major destination for the study of World Cinema.

22nd International Film Festival of Kerala-IFFK 2017-Country Focus-Brazil

Films from Brazil on focus

‘Country Focus ‘of the 22nd edition of the International Film Festival of Kerala (IFFK) would be Brazil Cinema. Six films curated by film scholar Stefan Solomon,  will be screened in this section.

Cinema Novo marks an important moment in the history of Brazilian cultural productions because it is understood as the first instance where Brazilian films began to gain a consistent level of positive critical reception outside of Brazil. Cinema Novo has long been popular among academics because it is a movement heavily imbedded with political, philosophical, and historical meaning. These films generally emphasized social and political problems in Brazil in an effort to promote economic reform.  While it is difficult to place a clear chronological time frame on this era, we can say that it lasted from the late 1950s to the early 1970s.

The  contemporary Brazilian cinema seems to be the byproduct of a mid-1990s renaissance in national film production. Accordingly, to better understand contemporary Brazilian cinema, it is advisable to recall the Brazilian film industry’s situation in the 1980s. An unsteady period followed by a major decline in national film production in the late-1980s and early-1990s, these were years illustrated by the dismantling of Embrafilme (Empresa Brasileira de Filmes), culminating in the complete eradication of the state-run film production and distribution company in March 1990. Around 1993–1994, however, a renaissance of Brazilian cinema occurred, in terms of film production and ticket sales, which has been called “Cinema da Retomada.” A cinematic phenomenon, fundamentally fueled by the industry’s access to new sources of state funding, the Retomada was predominately brought about by fiscal exemptions allowed by the Audiovisual Law (Lei do Audiovisual), as well as by grants such as the “Prêmio Resgate do Cinema Brasileiro,” coming from the Ministry of Culture. Later, the Rouanet Law (Lei Rouanet) strengthened the funding not only for film, but for cultural projects and events as a whole. Likewise, municipal and state laws promoting fiscal exemptions also had a fundamental role in the recovery of film production in the country. All these laws allowed the private initiative to redirect funds from taxes to film production. This article will provide a basic bibliography of the aforementioned topics, addressing the economic, sociological, and aesthetic issues related to contemporary Brazilian cinema.

A comprehensive resource here is Ramos and Miranda 2004, a reliable reference book in which one can find introductory information on various topics regarding contemporary Brazilian cinema. As seen in Ramos and Miranda 2004, the history of 1990s Brazilian cinema starts with two political acts: (1) the stamping out of the governmental agencies Embrafilme, Concine, and Fundação do Cinema Brasileiro, by President Fernando Collor de Mello in 1990; and (2) the validation of the Audiovisual Law (Lei do Audiovisual, no. 8.695/93) on July 20, 1993, a law that promotes the funding of Brazilian feature films by means of fiscal exemption. While in the beginning of the 1990s, only three Brazilian feature films were being screened each year, between 1995 and 1997, thirty-one films were produced and exhibited. The feature film that most remarkably represents this Brazilian cinema renaissance is Carla Camurati’s Carlota Joaquina—Princeza do Brasil (1994). Some critics and scholars advocate that, as a cycle, Cinema da Retomada came to an end with Walter Salles’s Central Station (Central do Brasil, released in 1998). Others deem Fernando Meirelles and Kátia Lund’s City of God (Cidade de Deus, released in 2002) as the true closing milestone of this renaissance. And a third perspective has considered Cinema da Retomada as a hitherto unending film cycle, given the persistence of the fiscal exemption mechanisms that prompted market recovery back in 1993/1994. Useful for further discussions on contemporary film production, a straightforward history of Brazilian cinema can be found in Stam and Johnson 1979. This work charts the shape of Brazilian cinema up until the late 1970s, when the state production and distribution company Embrafilme was already in full operation. A variety of works by experienced authors concerned with the economic, sociological, and aesthetic aspects affecting the new rise of the Brazilian film industry from the mid-1990s onwards can be found in Nagib 2003. Bernardet 2009 provides a number of essays and film critiques that help to “connect the dots” in terms of the context leading up to the early-1990s renaissance in Brazilian film production, the renaissance itself and the nascent horizons of contemporary Brazilian cinema. Butcher 2005 offers a short introduction to Brazilian cinema’s recent history while addressing aesthetic issues related to recent films. Finally, Bayman and Pinazza 2013 presents an updated selection of essays covering the history and aesthetics of Brazilian cinema, its main movements and achievements.

Directors with a clear perspective and a lucid personal outlook add a novel dimension to the films from Brazil. The contemporary films reflect the socio-political circumstances with precision. These films effectively dovetail the country’s state of affairs, and the inner conflicts and anticipation of man.

The ‘Focus on Brazil’ section consists of six contemporary movies from Brazil. Anita Rocha de Silveira’s ‘Kill Me Please’, Juliana Rojas’ ‘Necropolis Symphony’, Eduardo Nunes’ ‘Southwest’, Fernanda Pessoa’s ‘Stories that our Cinema did (Not) tell’, Adirley Queiros’ ‘White out, Black in’, and Thiago B. Mendonca’s ‘Miserable or a man screaming is not a dancing bear’

‘Kill Me Please’ by Anita Rocha de Silveira,. Anita Rocha da Silveira's arresting debut feature is a fever dream of adolescent sexuality with a retro giallo flavor. ‘Teen sexual exploration and the coming-of-age tale are first-feature cliches, but such is the range of human experience (and art) that there’s always room for a new vision to make that familiar territory seem fresh. The Brazilian film “Kill Me Please” offers a bracingly distinctive turn on those well-worn themes by chronicling a group of adolescent girls’ hormonally restless summer during a wave of murders in their West Zone neighborhood of Rio de Janeiro’ (Variety)

 ‘Necropolis Symphony’ of Juliana Rojas, "Necropolis Symphony". It takes a minute for the audience to get it, but then it begins to take the bizarre and lop-sided in its stride in the natural perception of a universe in which, it is not dumb zombies that populate the world, but real, live singing people who reside in the home of the dead. Andrea Martini dissects the originality of Brazilian musical comedy Necropolis Symphony by Juliana Rojas……. Shot entirely in a cemetery of a well-to-do area of São Paulo where family tombs and chapels stand in the shade of tree-lined avenues, Juliana Rojas's eccentric film stages a merry band who are by no means fazed by the macabre setting. It comprises four conscientious gravediggers, a pleasant bureaucrat superintendent just as one would expect a likeable native of São Paulo to be, and a stout, highly unorthodox priest.  (  Andrea Martini ,Fipresci)

Southwest directed by Eduardo Nunes .The rhythmic squawk of rotating bladed on a windmill outside a rustic country inn;wind rushing through the grass; unsmiling characters viewed sidelong through half-open doors.Thease are among repetitive aural and visual motifs in Eduardo Nunes ‘Southwest ‘that the relentless passing of time and the weight of the world on people struggling to survive (Newyork Times)

 

Stories That Our Cinema Did (Not Tell ) by Fernananda Pessoa,Brazil,1970s : the country is living under a military dictatorship which lasted 21 years.During that period the most produced and seen cinema was pornochanchadas: a diverse genre that combined erotic atmosphere and popular appeal.A review of a dark period of one of the most charming countries in the universe is made through the most unprecedented way-solely through the images and sounds from a selection of the

pornochanchadas films.

 ‘White Out ,Black’  of Adirley Queiros high concept ,lo-fifuturist docudrama explores the trauma of victims of a racist violence in the outskirts of Brasilia.An innovative ,intriguing and intimate piece about the maimed and disturbed underclass living under the shadows of Brazil’s futuristic capital.”(The Hollywood Reporter)

 ‘Young and Miserable or a Man Screaming is not a Dancing Bear’ directed by Thiago B Mendonca. HYBRID A group of artists test the borders between art and life. With theatre, music  and performance art in public spaces, they try and create a revolutionary consciousness. They join the protests against the 2014 World Cup and witness violence and police repression. But the nearer the spectacle comes, the wider the cracks in the collective's solidarity. The dream of art influencing life is overtaken by life itself. Made on a minimal budget, the film is a powerful portrait of a young generation of political artists and was inspired by an essay by Pier Paolo Pasolini in which he criticized materialism – and by the surreal poetry of Aimé Cesaire.