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Ismael Caneppele's Music For When the Lights Go Out

by :Ela Bittencourt
07-28-2018
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Ismael Caneppele on Prize Winning Music For When The Lights Go Out

Ismael Caneppele's Music For When the Lights Go Out plays in the LGBTQ Brazil film program at the Museum of the Moving Image, on Saturday, July 28, at 2pm, co-presented by Cinema Tropical. Winner of Art Doc award at Sheffield Doc...

Passionate drawings of Brazilian artist José Leonilson

by :Ela Bittencourt
07-16-2018
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Carlos Nader on Passionate Drawings of Artist José Leonilson

Passionate drawings of Brazilian artist José Leonilson, as well as his installation art, are the subject of Carlos Nader's uniquely immersive hybrid documentary, JL's Passion (2015), winner of the Best Documentary Prize at É Tudo Verdade / It's All International...

by :Ela Bittencourt
07-11-2018
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Cinemas of Underdevelopment: Djibril Diop Mambéty

Djibril Diop Mambéty included children in all his films, yet his work is exquisitely, brazenly adult. Since I saw the Mambéty retrospective at the Olhar de Cinema International Film Festival in Curitiba, Brazil, the context that immediately imposed itself was...

by :Ela Bittencourt
06-26-2018
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Arábia: Brazilian Cinema at the Dusk of Lula

Over three years ago, when I had just arrived in Brazil, I asked a family friend who’s a journalist why São Paulo's conservative papers were in such an uproar over Luiz Inácio Lula da Silva. Lula wasn’t president. Did the...

Alina Rudnitskaya documents Russia in Blood

by :Ela Bittencourt
06-22-2018
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Through the Glass Darkly: Alina Rudnitskaya Documents Russia

Russian filmmaker Alina Rudnitskaya's Bitch Factory (2009) is one of the fiercest documentaries I’ve seen this year. I wouldn’t stop at calling it feminist. Given its straightforward observational approach, you wouldn’t think it’d land so strong. It starts out with a...

by :Ela Bittencourt
06-21-2018
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María Luisa Bemberg’s I, The Worst of All

A radical costume drama is a rare thing, as the (mostly) warranted paeans for Lucrecia Martel’s Zama show. Even if the filmmaker chooses to disregard faithfulness to historical facts, or decides that the only way to be faithful is to...

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