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****** |
Programme
Focus Brazil # 2 |
Dimanche 4 Avril , 2010 / 22 h
Maision du Brésil
Paris
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Back to Room 666 |
De volta ao quarto 666 |
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Gustavo Spolidoro
Brésil
2008 / Video / 0:15:00
What is the future of cinema? In 1982, in Cannes, Wim Wenders invited many moviemakers to answer this question. 26 years later, the question remains, but Wenders is now on the other side of the camera.
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N. 27 |
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Marcello Lordello
Brésil
2008 / 35 mm / 0:19:00
- The bathroom is closed for cleaning.
- Cleaning? Bullshit!
- It's true, find another one, please.
- Open up, man, I wanna piss!
- Dude - he hesitates - You should call the supervisor for me, please?
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Rough Stone |
Pedra Bruta |
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Julia Zakia
Brésil
2009 / 35 mm / 0 :08 :00
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After Everything |
Depois de tudo |
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Rafael Saar da Costa
Brésil
2008 / DV / 0 :12 :00
After saying goodbye, the waiting. After the waiting, the return. After everything, being together is all they wish for and one day is enough for them to wait for the next one.
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Chapa |
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Thiago Ricarte
Brésil
2009 / 35 mm / 0 :15 :00
Antonio, an informal roadside worker, skips his routine waiting for his daugter's visit.
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Clouds |
Nuvens |
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Daniel Grinspum
Brésil
2008 / 35 mm / 0 :12 :00
Luana is a ten-year-old girl who sells candies on the streets. Trying to evade her harsh everyday life, she discovers a way of making clouds disappear. She then tries to apply this method for her own reality.
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Teresa |
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Paula Szutan, Renato Terrra Cunha
Brésil
2009 / 35mm / 0:18:00
Teresa comes to Sao Paulo to fullfill her dream of getting married. But she is forced into rethinking her goals when she finds herself trapped in a less than romantic situation.
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29 Mars - 11 Avril 2010
Le FISDN présentons une série de programmes orientés sur 16 pays et régions différentes. Cette section honore une découverte et une exploration de différents espaces et cultures. Le but est de comprendre les spécifiés des situations régional sur le plan existentiel, politique ou social, de reconstruire le relief émotionnel et intellectuel d'une région ou d'un pays pris à part. Dans ce travail critique, nous avons préféré les films qui refusent, dans la forme et dans les moyens d'expression, le recours aux modes normées de la restitution du réel, les films qui résistent à cette période de "globalisation" qui tend à imposer un modèle unique de culture et de moeurs..
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