2020, 110min, GO
2020, 110min, GO
In July, the dry wind and low humidity dry the skin of a small city residents. Sandro divides his days between the city club, work, soccer with friends and city parties. He has a relationship with Ricardo, his co-worker. But his routine begins to change with the arrival of Maicon, a boy who pikes up his interest and of which everyone knows very little.
Production Company: Panaceia Filmes
Directed by: Daniel Nolasco
Produced by: Lidiana Reis e Daniel Nolasco
Executive Producer: Lidiana Reis and Deivid Rodrigues
Director of Photography: Larry Machado
Director of Art: Carol Breviglieri
Sound design: Guilherme Farkas
Montage by: Will Domingos
Cast: Leandro Faria Lelo, Allan Jacinto Santana, Renata Carvalho, Rafael Theophilo, Leo Moreira Sá, Marcelo D'Avilla, Del Neto, Larissa Sisterolli, Mel Gonçalves, Conrado Helt, Marcelo Souza e Silva, Norval Berbari and Isabella Cecília do Nascimento
Written by: Daniel Nolasco
Sound mix: Jesse Marmo
Sound operator: Guilhotina Guinle
Director of prodution: Tamara Benetti
Image + Nation Montréal 2020 – Special Mention
Iris Prize Cardiff 2020 – Best Actor
Kyev Molodist International Film Festival 2020 – Sunny Bunny Competition – Best Movie Sunny Bunny Competition
Outfest Los Angeles 2020 – Special Mention International Narrative Feature Competition
AMOR Film Festival Santiago del Chile 2020 – International Competition
Barcelona Mostra Fire!! 2020
Berlin International Film Festival 2020 – Panorama
Brisbane Queer Film Festival 2021 – Feature Film Competition
Calgary Fairy Tales Queer Film Festival 2020
Chéries Chéris Film Festival Paris 2020 – Feature Film Competition
Ciclo Raosa Bogotà 2020
Cine Queer Natal 2021
Dublin Gaze 2020
Festival MiX Milan 2020 – Closing Night Film
Florence Queer Festival 2020
Guadalajara International Film Festival 2020 – Maguey Competition
ImageOut Rochester 2020
Inside Out Toronto 2020
Kaleidoscope LGBT Film Festival Little Rock 2020
London Fringe! Queer Film Festival 2020
Melbourne Queer Film Festival 2021
Mezipatra Prague & Brno 2020 – Feature Film Competition
Mix Copenhagen 2020
Munich Queer Film Festival 2020
NewFest New York 2020
Olhar de Cinema Curitiba 2020
Oslo Fusion 2020
Out on Film Atlanta 2020
Outshine Miami 2020
Outshine Miami 2020
Pink Apple Zurich 2020
Pink Panorama Luzern 2020
Pink Screens Brussels 2020
Queer & Migrant International Film Festival Amsterdam 2020
Queer Lisboa 2020 – Feature Film Competition
Queer Screen Mardi Gras Film Festival Sydney 2021
Queerzzine Castellón de la Plana 2021
Reel Affirmations Washington 2020
Roze Filmdagen Amsterdam 2021
San Francisco Frameline 2020
Seoul International Pride Film Festival 2020
Stockholm Cinema Queer Film Festival 2020 – Retrospective
Thessaloniki International Film Festival 2020 – Out of Competition
TLV Fest Tel Aviv 2020 – Feature Film Competition
Way Out West Film Festival Albuquerque 2020
Wicked Queer Boston 2020
Empresa Produtora: Panaceia Filmes
Direção: Daniel Nolasco
Produção: Lidiana Reis e Daniel Nolasco
Produção Executiva: Lidiana Reis e Deivid Rodrigues
Direção de Fotografia: Larry Machado
Direção de Arte: Carol Breviglieri
Som: Guilherme Farkas
Montagem: Will Domingos
Elenco: Leandro Faria Lelo, Allan Jacinto Santana, Renata Carvalho, Rafael Theophilo, Leo Moreira Sá, Marcelo D'Avilla, Del Neto, Larissa Sisterolli, Mel Gonçalves, Conrado Helt, Marcelo Souza e Silva, Norval Berbari, Isabella Cecília do Nascimento
Roteiro: Daniel Nolasco
Mixagem: Jesse Marmo
Som Direto: Guilhotina Guinle
Direção de Produção: Tamara Benetti
Photo: Felipe Fernandes
Daniel Nolasco was born in the city of Catalão, interior of Goiás, Brazil. He holds a bachelor's degree in Cinema and Audiovisual from Universidade Federal Fluminense and in History from Universidade Federal de Goiás. He has written and directed over nine short films, screened and awarded at various national and international festivals. His first documentary feature film is “Paulistas” (2017), made his debut at Dok Leipzig. His second documentary is “Mr. Leather” (2019), screened at over thirty festivals such as BAFICI, Frameline, Montreal International Documentary Festival, FicViña Viña del Mar. “Vento Seco” (Dry Wind) is his first feature film.
Gil - (2012, 10min)
I always heard my grandfather cursing against eucalyptus trees - that the wood was of no use, its leaves did not shadow us, and it did not produce any fruit. It was a useless tree, it only served to protect the houses from the winds. At that time, as a child, I did not understand the bitterness of my grandfather towards these trees that dazzled me by their grandeur and for not bowed down before the strong winds of August. Compared to some trees of the cerrado, which were low, and seem contorted by guilt, ashamed of their own beauty, there was something almost obscene in the way the eucalyptus leaves swing cheerfully high in the crowns.
Brazil is a Christian country and, therefore, parents almost always teach their children that desire is something forbidden and that it should be suppressed. Sexual desire, the desire of the flesh, is what scares the most, it's the most feared. My mother was no different. Afraid that I would learn things that I should not, that I would feel desires that she deemed inappropriate, she said there were things that should not be felt. She did not tell me anything else, opting for an education marked by silence. Like so many others, I learned more about sex from movies than at home or at school: I ended up feeling portrayed by images that claimed to be forbidden, wrong, ugly, dirty, obscene, but that awakened me to pleasure and desire.
Catalan, my hometown and the scenery of "Vento Seco (“dry wind”), is a city with very small political and social relevance within the national scene, in addition to having a history marked by heinous crimes - either for political reasons or for homophobia, such as the murder of the teacher Lázaro Duarte, whom I met when I was studying at the same school where he taught.
Like the entire state, the city has a strong sertanejo and rural culture. Its economy is based on agribusiness, which occupies the entire territory of the city, with immense crops of corn, soybeans, and other grains. In a way, this scenario helps other people to believe in the stories of people who leave the countryside and move into urban centers, seeking a different life, something new. Be it a new job, or new prospects. A story that repeats itself in soap operas, in books, in plays and also in cinema. Little matters the situation, but, almost always, the countryside towns are seen as places where nothing happens, places of boredom, suffocation, repression, and denial. Although I do not claim that this view has no grounds in reality, it represents only one side, a foreign and limited look at life in a countryside city. "Vento Seco" seeks to show part of countryside gay culture, which was responsible for my training until my adult life.
The film has artificialism as an aesthetic proposal and seeks to establish a direct dialogue with some elements of the melodrama, aiming at a reflection on the daily life of the workers of a fertilizer factory. The film also focuses on the representation of homoerotic desire by seeking a dialogue with films that sought to think of a form of representation that breaks with the attempt to frame homoerotic ties exclusively within codes established by a culture that was never concerned with seeing homoerotic relationships from another side of the prism, beyond that which is established by the current morality. Films like “O Fantasma” by João Pedro Rodrigues, “Esse Velho Sonho que se Move”, by Alain Guiraudie, films by filmmakers from the 70's like Wakefield Poole's “Bijou”, or even the performance work of actors like Al Parker serve as narrative and aesthetic references. Movies, images, bodies, stories, and people that made me proud of my desire, even with so many elements around me saying that I should writhe in shame like some cerrado trees. Around Catalan, there was always the artificialism of the green leaves of the eucalyptus swaying proudly with the winds amid the winter drought.
Podcast Confabulando – Interview with Daniel Nolasco about "Vento Seco" and the queer movie
JUSTIFICATION: Considered the first gay porn film to be screened on the commercial film circuit, it is one of the seminal milestones of homoerotic cinema. It helped define the whole cinematic aesthetic of how to film gay sex.
JUSTIFICATION: The dialogue established with this film goes beyond homoerotic aesthetics. Both in Biju and Vento Seco, several erotic scenes take place in the fetish imagination of the protagonist.
JUSTIFICATION: The film that served as the main inspiration for the construction of the factory space and the affective relations between Sandro, Ricardo and Maicon.
Corpo sua autobiografia
by Cibele Appes and Renata Carvalho (2020, 41min, SP)
Viewer's Discretion - Not recommended for children under 12 years; Nudity
Sinopsis: "Corpo sua autobiografia" is a documentary that shows a body in social and family isolation, but the distance is not caused by the Corona virus, but by being a travesti. Renata Carvalho is a character of herself; her voice tells us the historicity / transcestrality of her body and the structural transphobia, pointing to the social, media, criminal, sexualized and pathological construction of travesti’s corporeality and identity.
Corpo sua Autobiografia" by directors Cibele Appes and Renata Carvalho discusses the spaces, both imaginary and physical, that the queer body, the transvestite body, occupies in our society. As the title itself already announces, the film is an autobiography, in which the protagonist Renata tells her own story. She builds her trajectory through her body and proposes a reflection on the social and cultural construction of the contemporary world on her corporeality.
Renata is also one of the main characters of "Vento Seco". Her character, Paula, has the social and political awareness that other characters lack. A union leader, she is responsible for workplace safety at a large fertilizer company. Paula feels responsible for everyone's physical safety. For the well-being of her co-workers' bodies. In a very different way, Renata's work in this film also proposes a reflection on the spaces that her body occupies in our society.