What a moment: you got here, received a copy of the catalog, opened it, and began reading the introduction. You can't hide the joy - why hide it?
We have to confess that, in our imagination, you were already leafing through these pages, setting yourself to enjoy everything to the fullest, walking around the venues, talking to us and everyone else, provoking that feeling of people looking for good things... That's what we have been working for! For this reason, with great honor, we greet you; whether you're a film buff or just curious, we wish you to embrace our gesture and make history by taking part in the first edition of ZoomCineEsquemaNovo - Porto Alegre Film Festival.
Equipped with the 120 pages of this catalog, our website, and a week of intense programming ahead, you'll realize with your own eyes our proposal for this festival. So, don't expect too many explanations. To sum up, it's worth mentioning, ZCEN was born just over 2 years ago and was designed to display short and medium-length films in video, super-8, 16mm, and 35mm. What's our cinematographic parameter, you may ask? Well, we seek surprise: the cut, the narrative, the acting, the proposal, the direction, the conception... Add to that the fact that Porto Alegre makes cinema, and talks a lot about it, and there were no festivals in the city. Well, then why not do one?
We just mentioned surprise, and maybe this is the keyword of the festival, next to “new”. However, debating the "new" is entering an endless spiral - and we are not here to define what is new or not in this sea of thoughts -, so let us stay with the surprise, which adds the thoughts that seek innovation and creativity... And you will soon understand the festival's name origin, and why we're not the “ZoomCineEsquemaSurprise”…
Moving on… For example: your girlfriend isn't exactly new to you, right? But she may surprise you. The ideas and attitudes of a longtime friend or family can also be surprising. Even your boss can elicit that interesting feeling. Speaking of the object of the festival, you also know what cinema is, it’s not exactly new for you, but that doesn’t mean that it ceases to surprise you. Just as it does not mean that you cannot make it surprising yourself - that is the point.
The festival only became a reality because we believe in the ability that everyone has to undertake things based on their ideas, whether in Cinema or in any other field and, in this way, everyone can bring about a surprise. To search beyond the straight line: to go forward, backward, sideways, upwards, and downwards in 3D possibilities.
You too can make your film, your video or your festival (if you haven't done any of these already) - and why not? You most likely know this already, and that's the reason you're here. If you're here "just" for the fun and to have a great time, amazing! This is also an essential part of an encounter of this nature. The two elements mix in our celebration of feeling present, which is the result of this festival and the proposal to search for a “new cinema scheme” - a "cine esquema novo".
The jargon refers to Cinema Novo, right? But the name of the festival had its origin, in reality, in master Jorge Ben. On his eternal debut album in 1963, Samba Esquema Novo, where he snatched bossa nova to promote an indelible musical experience for Brazilian popular music. “Mas que nada, sai da minha frente que eu quero passar, pois o samba está animado, e eu quero é sambar… este samba que é misto de maracatu, com samba de preto velho, samba de pretu-tu…” [Whatever, step aside, I wanna come through. The samba is live! I want to samba, this samba, a mix maracatu, samba from preto velho, samba from Preto-you.] Step aside, we can and should also come through, in our own way, animating life and mixing whatever it takes to make it better for all of us.
This is what motivates us, and so many other people as well. In the case of ZoomCineEsquemaNovo, the competitive screening, the reruns, the debates, the workshops, the decentralized programming in Restinga, the cycle of homage to director Rogério Sganzerla (whose greatest work, “O Bandido da Luz Vermelha", turned 35 years in 2003), the integration with cinema from all over the country, the presence of directors from outside the State at the festival, the cultural agenda, the 18 different award categories (which exceeds BRL 35,000 in awards, to be used in productions, so that more film projects can come into being), the orientation so that everything can be free, all that except for the outings… All is nothing more than a way to transform the snowball that is our cultural production into something bigger and bigger. Let's come through!
Welcome. Feel at home and enjoy!
PARALLEL PROGRAMME CEN
The Rogério Sganzerla Cycle will have an in-session commentary of “O Bandido da Luz Vermelha” with the participation of the filmmaker as well as the screening of the films “A Linguagem de Welles” (1991), “A Mulher de Todos” (1969), “HQ” (1969), “Sem Essa, Aranha” (1970), “Documentário” (1966), “Swaldianas - Perigo Negro” (1992) and “Tudo é Brasil” (1997).
Midnight sessions: screening of films by Rogério Sganzerla, Joel Pizzini, Gustavo Jahn, Helena Ignez, Ana Luiza Azevedo and Alexandre Basso at Sala PF Gastal, at Usina do Gasômetro.
Sessions for schools: screening of CEN selected films at Escola Lidovino Fanton, in Restinga Velha. The Popular Jury votes will come from the aforementioned sessions.
“Possible Filmmaking”, with Gilson Vargas (RS); “Poetry Cinema”, with Joel Pizzini (SP); “Low Budget Productions and Formation of Work Groups”, with Frederico Cardoso (RJ), and “Initiation to Editing and Language in Modern Cinema”, with Rogério Sganzerla.
COMPETITION JURY: Elaine Tedesco, Helena Ignez, Joel Pizzini, Marcus Mello, Tiago Mata Machado
ATRAVÉS, by Sérgio Borges (video - MG)
For its poetic sense, transcendence, and intensity of the scene of a boy walking on a dirt road accompanied by a dog, and for his sense of life valuing.
Amazing Character Trophy
Toni B., main (and real) character of VULGO SACOPÃ, by Pedro Urano (Video - RJ)
For the importance of the character's discovery, for his lucidity, and resistance.
DEMÔNIOS, by Christian Saghaard (35mm, SP)
For the radical plunge into the urban underworld and its characters.
O ENGRAXATE, by Leonardo Duarte (16mm, RJ)
For the dialogue between classes and also for the dialogue between fiction and reality.
RASGUE MINHA ROUPA, by Luffe Steffen (Super-8, SP)
For its laid-back quality, for the playful character, and good humor.
BATIZADO, by Eduardo Chalita (Vídeo, RJ)
For the literal dive into the character's melodramatic universe.
The crops of the new generation of filmmakers from Minas Gerais
For their creativity, inventiveness, surprise, and experimentation, words that are the motto of ZoomCineEsquemaNovo.
Paulo César Pereio, for PLANO-SEQUÊNCIA, by Patrícia Moran (35mm, SP)
For its self-irony, laid-back quality, and scenic intelligence.
For the crew of DEMÔNIOS, by Christian Saghaard (35mm, SP)
For their inventiveness in creating an oppressive and dizzying atmosphere.
Best Art Direction
Arnaldo Duarte and Cláudio Oliveira, for O BLOQUEIO, by Cláudio Oliveira (35mm, MG)
For their intelligence and ingenuity in the combination of techniques, genres, and formats.
Luis Carlos Saldanha, for PATUÁ, by Snir Wine (35mm, RJ)
For the inspired use of light in the film's setting.
Luis Guimarães de Castro and Luelane Loiola Corrêa, for COMO SE MORRE NO CINEMA, by Luelane Loiola (35mm, RJ)
By the use of historical material, research and composition of the image.
Gilson Vargas, for À SOMBRA DO OUTRO (35mm, RS)
For his daring, competence, and inventiveness, combined with the economy of language and narrative precision.
O BLOQUEIO, by Cláudio Oliveira (35mm, MG)
For the precise recreation of the artistic universe of the writer Murilo Rubião.
A TERRA DO SILÊNCIO, by Marco Scarassati (SP)
For the articulation between cinematography and sound, and for overcoming the technical limits of the super-8.
O CHAMADO DA NATUREZA and PRÓLOGO/MONOLITO, both by Renato Heuser (RS)
For the sense of plastic composition, sensitivity and simplicity.
Best Film or Video by the Restinga audience
LIBERDADE É APENAS UM DETALHE, by Pedro Bronz (RJ), with an average of 8.9 points out of a total of 10.
LILITH, by Marina Weiss (SP)
For the synthesis, strangeness, and the well-done translation of a myth through a poetic narrative.
À SOMBRA DO OUTRO, by Gilson Vargas (RS)
For the inventive construction of the film's mise-en-scene.
DES FANTASTIK SUCRIC, by Vitor-Hugo Borges (35mm, SP)
For its artwork and delicacy.