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Brazil’s New Cinema; N.I.C.E. screens In S.F.

Brazil's New Cinema; N.I.C.E. screens In S.F.

Brazil's New Cinema; N.I.C.E. screens In S.F.

Compiled by Anthony Kaufman

>> Brazil’s New Cinema, Now and Then, at NYC’s MOMA

This Friday, New York’s Museum of Modern Art will showcase the latest
and best of Brazilian cinema in a 59-feature and 16-short film festival
titled Cinema Novo and Beyond. With Walter Salles’ festival crowd
pleaser “Central Station” about to open on U.S. screens later this
month, the festival is a timely nod to what came before and what is to
come. The program spans the past four decades of Brazilian filmmaking,
beginning with the Cinema Novo, a wave of social and political
breakthrough work from directors like Nelson Pereira dos Santos (“Barren
Lives”, 1963) and Glauber Rocha (“Black God, White Devil”, 1964) whose
dictum “An idea in your head and a camera in hand…” infused the spirit
of the movement. “Cinema Novo created a remarkable body of work —
visually stunning, emotionally exuberant, politically provocative, and
uniquely Brazilian — that retains its vitality and power today,” says
Jytte Jensen, Film and Video Associate Curator, who organized the

Also screening in the series are a number of more modern hits, carrying
on the legacy of important Brazilian filmmaking. “Four Days in
” director Bruno Baretto’s most popular Brazilian film of all
time, “Dona Flor and Her Two Husbands” (1976), Carlos Diegues’ “Bye Bye
” (1980) and Hector Babenco’s acclaimed “Pixote” (1981) will all
screen. While representatives of the 90’s resurgence in Brazilian
cinema are reflected in Walter Salles’ 1995 low budget thriller
Foreign Land,” Beto Brant’s New Directors/New Films premiere “Belly Up
(1997), Jose Araújo’s “Landscapes of Memory” (1996), Sandra Werneck’s
Dictionary of Love” (1996) and Fabio Barretor’s Academy Award nominated
O Quatrilho” (1996). U.S. premieres include Carlos Reichenbach’s
Alma Corsaria“, Julio Bressane’s “Miramar” (1997), and Ugo Giorgetti’s
Soccer Players” (1997). Many of the directors will be on hand to
introduce and discuss their work.

After premiering at The Museum of Modern Art, the series will travel to
some twenty venues, both domestically and internationally. Distributed
by Cowboy Booking International, the tour will include UCLA’s Film and
Television Archive, the National Gallery of Art in Washington, D.C.; and
the Art Institute of Chicago, among many others.

>> Italy’s Emerging 8 Showcased in San Francisco

Eight films from new Italian directors will be presented in San
Francisco under a program called N.I.C.E (New Italian Cinema Events)
from November 18-22. Presented by the San Francisco Film Society, in
association with the Italian Cultural Institute under the auspices of
the Consulate General of Italy, the films were selected from Italian
entries at the Cannes and Venice film festivals by a jury of Italian and
American film critics and journalists. Film Society, Artistic Director
Peter Scarlet noted, “Several of these films will be receiving their
North American Premieres, and a few will be getting their first United
States screenings.” The lucky eight include: Gala Closer Marco Risi’s
Kaputt Mundi,” Fulvio Wetzl’s “First the Music, then the Words,” Marco
Turco’s “Belleville,” Vincenzo Terracciano’s “Acts of Justice,”
Ferdinando Orgnani’s “Open Sea,” Davide Manuli’s “Go Around the World,”
Antonio Capuano’s “Napoli Dust,” and Mimmo Calopresti’s critically
praised, “Notes of Love,” whose last film, “The Second Time” was a
highlight of last year’s N.I.C.E. event. New Italian short films will
screen before the features, many directors will be in attendance, and a
special award for best film will be given out, as selected by the San
Francisco and New York audiences.

For more information 415.931.FILM or

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