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Documentary | Color, B&W | 85′ | 2017 | Argentina
Directed by Albertina Carri | Production: Albertina Carri, Diego Schipani | Screenplay: Albertina Carri | Cinematography: Alejo Maglio, Federico Bracken, Bruno Constancio, Tamara Ajzensztat, Rosario Castelli | Editing: Lautaro Colace
Synopsis: I am tracing the steps of Isidro Velázquez, Argentina’s last insurgent “gauchillo”. But, as the search for lost time is always erratic, am I really going after that fugitive of the bourgeois justice? Or am I going after my own footsteps, after my own heritage? So I travel to Chaco, to Cuba, seeking for a missing film. I also dig into film archives looking for moving corpses that could return to me something that was gone too early. What am I looking for? I search for movies, also for a family – of living and of dead. I seek a revolution, as well as some justice. I look for my missing mother and father, their remaining bones, their names, what they left on me. I realise I am making a western with my own life. I seek a voice, my own voice, through the noise and rage of those lives shattered by that same bourgeois justice that was looking for Isidro Velázquez.
Documentary | Color | 72’| 2017 | Brazil
Directed by Maria Carolina and 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.
LILIES ARE NOT BORN OF THE LAW
Documentary | Color | 65’| 2017 | Brazil
Directed by Fabiana Leite | Executive production: Fabiana Leite | Production: Daniela Pimentel | Cinematography: Cardes Amâncio | Screenplay: Fabiana Leite| Editing: Fabiana Leite e Daniel Carneiro | Sound postproduction: Flora Guerra | Color correction: Bruno Pacheco |Original music: Patricia Rocha | Special participation: Ana Carolina Leonel Dayane de Souza Jéssica Leonel Liliane Pereira Marcela Goldinho
Synopsis: The story of Ana Carolina, Liliane, Dayane, Marcela lives intersects in the alleys of a prison. Tragedies, dreams, expectations and transformations are experienced before and after having given birth in jail. After the first months of being born, the imprisoned child must be given to a member of the family or put up to adoption, under the sight of the law, while the mother, separated from the newly-born is kept under the prison sentence.
Documentary | Color | 82′ | 2017 | Brazil
Directed by Mariana Oliva, Renata Terra and Bruno Jorge | Executive Production: Mariana Oliva | Screenplay: 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: 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.
RURAL WOMEN IN MOVEMENT
Documentary | Color | 46′ | 2016 | Brazil
Directed by Prévost Héloïse and MMTR-NE – Movement of the Rural Worker Woman of the North-East of Brazil | Production: Prévost Héloïse and the MMTR-NE | Screenplay: Prévost Héloïse and the MMTR-NE | Cast: Movement of the Rural Worker Woman of the North-East of Brazil – MMTR-NE
Synopsis: Rural Women in Movement is a participative documentary co-produced with the militants of the MMTR-NE, the Movement of the Rural Worker Woman of the North-East of Brazil. This collective project – based on four portraits of activists, with interviews and different moments of work and collective mobilization, such as the March of the Margaridas – shows the everyday life of these women in struggle against patriarchy, homophobia, intensive and polluting agriculture. Feminism and agroecology are combined in their daily lives and on the political scene.
TEKO HAXY – BEING IMPERFECT
Documentary, Experimental | Color | 39’| 2018 | Brazil
Directed by Patrícia Ferreira and Sophia Pinheiro | Production: Henrique Borela | Executive Production: Sophia Pinheiro | Screenplay: Patrícia Ferreira e Sophia Pinheiro | Cinematography: Patrícia Ferreira e Sophia Pinheiro | Editing: Tita | Sound: Belém de Oliveira
Synopsis: An intimate search 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 through conflict and perform themselves materially and spiritually. In this process, they find each other alike and opposite in the pertinence of their footage.
THE CASE OF THE WRONG MAN
Documentary | Color, B&W | 77′ | 2017 | Brazil
Directed by Camila de Moraes | Executive Production: Camila de Moraes e Mariani Ferreira | Screenplay: Camila de Moraes, Mariani Ferreira, Maurício Borges de Medeiros | Cinematography: Maurício Borges de Medeiros | Sound Design: Guilherme Cássio dos Santos | Editing: Maurício Borges de Medeiros | Original 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 testimonies of Ronaldo Bernardi, the photographer who produced 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.
Documentary | Color | 66′ | 2017 | France, Lebanon, Norway
Directed by Jumana Manna | Cinematography: Marte Volde | Sound: Rawad Hobeika | Editing: Katrin Ebersohn | Producer: Elisabeth Kleppe
Synopsis: Deep in the earth beneath the Norwegian permafrost, seeds from all over the world are stored in the Global Seed Vault to provide a backup should disaster strike. For the first time ever, seeds held there from a major gene bank in Aleppo are now being replicated, after its holdings were left behind when the institution had to move to Lebanon due to the civil war. It is refugees from Syria who are carrying out this painstaking work in the fields of the Beqaa Valley. In the Levant, dry conditions and the power of global agricultural corporations are the biggest challenge, while in the Arctic Circle – where the seed vault was supposed to withstand anything – it is rising temperatures and melting glaciers. Wild Relatives loosely links together different narratives and biographies, opening up a space to reflect on biodiversity, resilience, global justice and climate change, as well as disasters caused by human hand and the ambivalent efforts made to overcome them. Beauty and horror lie close together in the Anthropocene, just as they do in this film’s outstanding images.