Though she made her feature filmmaking debut with Mutum (which closed Cannes’ Directors’ Fortnight program in 2007 and toured as part of 2009’s Global Lens initiative), Sandra Kogut has been an active documentarian for the past two decades. With ambitious projects like Parabolic People (1991), a multipart series of restlessly scrolling, densely composed video windows onto Dakar, Paris, Tokyo, New York, and Rio de Janeiro, or the gleeful adventures in collective storytelling that take place in Adiu monde, or Pierre and Claire’s Story (1998), she’s been at the forefront of Brazil’s contemporary documentary scene, which, since the mid-nineties, has exploded domestically and on the international festival circuit. Yet Kogut’s work, both fiction and documentary, or more often hovering at the intersection of the two, stands apart from films like José Padilha’s Bus 174 or Eduardo Coutinho’s Edifício Master, gritty exposés of favela life that typify much of what regularly screens at Rio’s It’s All True documentary festival. Though their concerns are specific to Brazil, Kogut’s films expand beyond the borders of her birthplace, questioning the limits of national cinema in an international age. Read the rest of Genevieve Yue’s entry in Reverse Shot’s American All-Stars symposium.