FEATURE FILMS SELECTION (part 1)

The International Women Filmmakers Festival – FINCAR takes place from August 14 to 19 in Recife and Camaragibe (PE), Brasil!

It’s with great pleasure that we announce some of the feature films that will be screened in this year’s edition:

Diários de Classe (Daily Class)

Documentary | Color | 72’| 2017 | Brazil

Direction: Maria Carolina e Igor Souza | Cinematography: Gabriel Teixeira | Camera: Maria Carolina, Igor Souza, Gabriel Teixeira, João Tatu | Sound: Ana Luiza Penna e Juan Penna | Production and assistant director: Erika Saldanha | Original music: João Milet Meirelles | Editing: Iris de Oliveira

Synopsis: Attending adult literacy classrooms in outlying schools and in the Salvador (BR) women’s prison, the documentary Daily Class finds the stories of three women, a maid, a transgendered girl, and a drug trafficker incarcerated, who seek to survive in a system that insists on erasing their lives.

 

Teko Haxy – being imperfect

Documentary, Experimental | Color | 39’| 2018 | Brazil

Direction: Patrícia Ferreira e Sophia Pinheiro | Production: Henrique Borela | Executive Production: Sophia Pinheiro | Cinematography: Patrícia Ferreira e Sophia Pinheiro | Editing:  Tita | Screenplay: Patrícia Ferreira e Sophia Pinheiro |  Sound: Belém de Oliveira

Synopsis: An intimate finding between two women as they film each other. This experimental documentary is, itself, their relationship: an indigenous filmmaker and a non-indigenous visual artist and anthropologist. With the consciousness of the imperfection of being before them, they go trhough conflict and perform themselves materially and spiritually. In this process, they find each other alike and opposite in the pertinence of their footage.

 

Piripkura

Documentary | Color | 82′ | 2017 | Brazil

Direction: Mariana Oliva, Renata Terra , Bruno Jorge | Executive Production: Mariana Oliva | Script: Mariana Oliva, Renata Terra | Cinematography: Bruno Jorge, Dado Carlin | Sound: Gustavo Canzian, Gustavo Nascimento | Sound Design: Daniel Turini, Fernando Hennab | Editing: Renata Terra, Leopoldo Nakata | Production Coordinator: Rodolfo Frederico Paes Junior | Original Music by: Vitor Araújo | With: Rita Tupi Kawahib, Pakyî, Tamandua, Aripã Karipuna, Jair Canddor

Synopsis: Two nomadic Indians of the Piripkura people survive surrounded by farms and loggers in a protected area in the middle of the Amazon Forest. Jair Candor, a National Indian Foundation (FUNAI) public servant, has been following the two since 1989. He conducts periodic expeditions, monitoring traces that prove their presence in the forest in order to prevent that area from being invaded. Packyî and Tamandua live with a machete, a dull axe and a torch. The film examines the consequences of a tragedy and reveals resilience and autonomy.

 

O Caso do Homem Errado (The Case of The Wrong Man)

Documentary | Color, B&W | 77′ | 2017 | Brazil

Direction: : Camila de Moraes | Executive Production: Camila de Moraes e Mariani Ferreira | Screenplay: Camila de Moraes, Mariani Ferreira e Maurício Borges de Medeiros | Cinematography: Maurício Borges de Medeiros | Sound design: Guilherme Cássio dos Santos | Editing: Maurício Borges de Medeiros | Music: Rick Carvalho | With: Juçara Pinto, Paulo Ricardo de Moraes, Ronaldo Bernardi, Luiz Francisco Corrêa Barbosa, João Carlos Rodrigues, Jair Kirschke, Edilson Nabarro, Renato Dornelles, Paulo Antônio Costa Corrêa, Waldemar Moura Lima, Vera Daisy Barcellos, Romeu Karnikowski, Aline Kerber

Synopsis:The documentary tells the story of the young black worker Júlio César de Melo Pinto, who was executed by the Police in the 1980s in Porto Alegre. The crime gained notoriety after the press released photos of Julius being put in with life in the police car and arriving, 37 minutes later, shot dead in the hospital. The film features the testimony of Ronaldo Bernardi, the photographer who made the images that made the case known, the widow of the worker, Juçara Pinto, and respected names of the struggle for human rights and the black movement in Brazil. In addition to the case that gives title to the film, the production also discusses the deaths of black people provoked by the police. Amnesty International also refers to the genocide of black youth because of the large number of black youths murdered by security forces in the country.

 

Soon, we’ll release more of our program with shorts, more feature films and partnerships.