Cine Esquema Novo 2006

CineEsquemaNovo has been recognized by the Brazilian festival circuit since its debut edition, in 2003, for having been one of the first festivals in the country to overturn the formal distinction between cinema, video, and digital, promoting new media as legitimate and autonomous filmmaking formats. All imaginable media, from 35mm and its variations to productions shot with a cell phone, are accepted equally. Disregarding definitive answers about the future of image, CEN only brings to light an irrefutable reality: the concrete possibility of renewing the audiovisual language provided by technology. Thanks to this point of view, the festival presents new ways to make films and to understand what can be called cinema.

For its 2006 version, CineEsquemaNovo received 814 short and medium film and 26 feature film submissions, which resulted in 87 films selected for the three competitive screenings (Short and Medium, Feature, and Classroom). They are creations coming from 12 states of the federation and five countries (in the case of Brazilian productions abroad). The selection, as well as the screening and the award-giving, is based on the idea that the talent and technique of the filmmakers are what matter. The festival is open to the authors so they may explain and justify the methods of developing their work without any segregation. SURPRISE, EXPERIMENTATION, CREATIVITY, and INNOVATION, all brought by short, medium, and feature films are still the keywords of the festival, which has been happening since its first edition in 2003. In addition to the selected films, there are the works searched for and invited to take part in the other activities of the festival, totaling 140 films in 83 sessions at CEN 2006. This entire program is spread over six screening venues and also through the streets of Porto Alegre. CineEsquemaNovo strives to bring the past and the future together, as well as the history and perspectives of audiovisual by simultaneously proposing discussions about new cinematographic formats and tributes to key names in Brazilian production and invention in the art of image, such as Rogério Sganzerla (in 2003) and Ruy Guerra (in 2004). Within this, in the special programs of 2006, the highlights of CEN are the sessions called “Cinema de Artista” [Artist Cinema] and “Noutras Janelas” [In Other Windows].

The democratic accessibility provided by the new media means that many creators - who historically had their main means of expression in the visual arts, for example - also find in the audiovisual a way of giving movement to their work. This is one of the premises of the Mostra Cinema de Artista [Artist Cinema Screening], which presents works by well-known names of the Brazilian filmmaking industry who, throughout their trajectories, have also used cinema for their artistic expressions. This is not “video art”: CEN will offer the public an informative exhibition on the use of video and cinema as a tool in the construction of research in art. The Mostra Noutras Janelas [In Other Windows Screening], on the other hand, helps to complete the focus of questioning cinema as proposed by CineEsquemaNovo 2006. Artist Cao Guimarães, awarded best short film at CEN 2004 for “Da Janela do Meu Quarto”, will exhibit his creations in random spaces in the city, to provoke a reflection on how space interferes in the cinema experience. In addition to these two special attractions and the Short and Medium, Feature Film, and Classroom Screening (with works from courses, workshops, and universities with links to filmmaking), The CEN program also comprises the non-competitive sessions of the Mostra CineEsquemaNovo (with works by people directly or indirectly connected to the festival); the Mostra para Escolas (School Screenings, a selection of short films specifically for children and young people); the Mostra do Filme Livre (Free Film Screening, in due recognition of CEN's “brother festival” that takes place in Rio de Janeiro); and, on the last day of the festival, four sessions with the winning films. In addition to all the film options, CEN 2006 also offers debates, after the sessions of the Short and Medium screenings (at Usina do Gasômetro) and one of the sessions of the Mostra Cinema de Artista [Art Film screening], at Santander Cultural. Also, there's the Cinema Criticism Workshop, taught by Marcus Mello, will bring knowledge for all participants - as well as reviews of the films, posted on our website (where you can find everything that happens at the festival) - and the New Critics prize, a stimulus also to the written reflection on the future of audiovisual. The Festival's values and concepts have matured, but at the same time are open to reinvention every year in its structure. CineEsquemaNovo stands as an achievement with its own voice within the Brazilian festival circuit which is often happy with itself as it is. That, as a rule, can erode fundamental values of any type of art: reflection, interpretation, transformation, and revolution.


Mostra Cinema de Artista: curated by Luiz Roque, the Mostra Cinema de Artista screened nine films by Paulo Bruscky (“Arte Pare”, “Registros”, “Xeroperformance”, “Aépta”, “Composições nos fios – Partituras Mutantes”, “Arquitetura do Imaginário”, “Registros de Viagem”, “Amsterdam Erótica” and “Via-Crucis”); two by Arthur Omar (“O Castelo Resiste” and “O Livro de Raul”) and by Eryk Rocha and Tunga (“Medula”), Rivane Neuenschwander and Sérgio Neuenschwander (“Love Lettering”), Helmut Batista and Daniel Roesler (“Maria Farinha”), Brígida Baltar (“Casa de Abelha”) and Laércio Redondo (“I Don’t Love You Anymore”).

Mostra Noutras Janelas: projection of images produced by Cao Guimarães, awarded with the best short film at CEN 2004 for “Da Janela do Meu Quarto”, shot in random spaces in Porto Alegre.

Mostra CineEsquemaNovo: screening of 22 short films that bring together the production of the crew that participates in the backstage of the CineEsquemaNovo Festival. This section screened the films “Os Olhos do Pianista”, by Frederico Pinto; “Hoje tem Felicidade”, by Lisiane Cohen; “Início do Fim”, by Gustavo Spolidoro; and “Projeto Vermelho”, by Luiz Roque, among others.

Mostra do Filme Livre: in partnership with Mostra do Filme Livre, CEN screened ten short films at PF Gastal, Usina do Gasômetro: “Landscape Theory”, by Roberto Bellini (MG); “Nada com Ninguém”, by Pedro Díaz (MG); “Quem Navega no Mar sempre Encontra um Lugar”, by Dellani Lima (MG); “Veluda”, by Ana Rieper (RJ); “Deu no Jornal”, by Yanko Del Pino (RJ); “Boato: uma autodefinitude”, by Grupo Boato (RJ); “Euclydes e Ana”, by Fernando Coimbra (SP); “Cinemação Curtametralha”, by Sérgio Péo (RJ); “Baiestorf, filmes de sangueira e mulher pelada”, by Christian Caselli (RJ); and “Tchau pai”, by Ricardo Machado (PR).

Mostra Sala de Aula: competitive screening (popular jury) comprised of 26 works from image teaching centers such as ECA / USP and UFF / RJ, as well as more recent courses, such as those at PUC / RS and the International Film Academy (SP and PR), and arriving at activities promoted in neighborhoods on the outskirts of large cities, such as those of Oficina Kinoforum.

World premiere: “Árido Movie”, feature film by Lírio Ferreira (PE).

Workshop: Film Criticism, with Marcus Mello (RS).


OFFICIAL JURY AWARDS [Cao Guimarães (MG), Daniel Feix (RS), Paulo Bruscky (PE), Gabriela Motta (RS) and Rodrigo John (RS)]

Special Jury Award

“Acossada”, by Karen Akerman and Karen Black (RJ / RS), shot in 16mm / Mini-DV (07 ′18 ”)

JURY’S JUSTIFICATION: Hounded by brands, the cinema screams. Raped in the bathroom and at the box office, the cinema cracks. Homage to two or three things I know about it, the cinema says thanks. Free out and about, the cinema sticks.

Best Film

“Man.Road.River”, by Marcellvs L (MG), shot with a Mini-DV (09 ′ 27 ”

JURY’S JUSTIFICATION: Man Road River. Bullet. Barrel. Body. Bullseye.

Best Direction

“Acossada”, by Karen Akerman and Karen Black (RJ / RS), shot in 16mm / Mini-DV (07 ′18 ”)

JURY’S JUSTIFICATION: From the flirtation with a classic, the Karens direct themselves with humor and poetry, in a light and unpretentious, but no less forceful, manifesto.

Best Feature

“Fala, Mulher!” / Directed by: Graciela Rodriguez & Kika Nicolela (SP), shot in Mini-DV (80 ′ 00 ”)“ Wonderful! The colors, the grace, the life, the passion and the lust!” (comments by the audience).

Best Animation Experimentation

"02. Conjunto Residencial”, by Adams Carvalho and Olivia Brenga (SP), shot in Mini-DV and Digital Photo (05 ′ 00”)

JURY’S JUSTIFICATION: For the technical virtuosity camouflaged in the unpretentiousness of free strokes and movements, in an apparently banal scenario, where a new world, unnoticed, creates life.

Best Photographic Experimentation

“Terra de Gigantes”, by Eduardo Rennó and Alexandre Milagres (MG), shot in Super 8 / Mini-DV (04 ′ 15 ”)

JURY’S JUSTIFICATION: In a land of giants the stars of the stage are raised to the sky and tied by wires in 220-volt outlets. Life is a matter of point of view.

Best Sound Experimentation

“Entre Paredes”, by Eric Laurence (PE), in 35mm (15 ′ 00 ′)

JURY’S JUSTIFICATION: For the translation of the character's disturbed state, in the use of sound almost as a substitute for dialogues and actions for the construction of the dramatic line.

Best Editing

“Vinil Verde”, by Kleber Mendonça Filho (PE), in 35mm / 2D Animation (16 ′ 00”)

JURY’S JUSTIFICATION: A disc runs in static time, rocking the movement that is only suggested, a few frames from the animation.

Best Visual Experimentation / Art Direction

“O Ditado”, by Tomás Creus and Lavinia Chianello (RS / ITA), in Mini-DV / Stop Motion Animation (04′06”)

JURY’S JUSTIFICATION: The deformations of the dolls are in accordance with the filter of the character's affective memory, which blends beauty and horror.

Best Performance

“Entre Paredes”, by Eric Laurence (PE), in 35mm (15 ′ 00 ′)

JURY’S JUSTIFICATION: Between walls, precise steps, and a presence capable of instigating curbing instincts.

Amazing Character Trophy

Kilmayr, real character of “Kilmayr”, by Márcio José Schenatto (RS), in Mini-DV (10 ′ 00 ”)

JURY’S JUSTIFICATION: As Oscar Wilde would say: “We are all in the gutter, but some look at the stars”.

Best Scream

“Bitola Cabeça Super 8”, by Gabriela Barreto and Vitória Araújo (BA), Mini-DV + VHS + DVD (18 ′ 30 ”) and“ Acossada ”, by Karen Akerman and Karen Black (RJ / RS), 16mm + Mini-DV (07 ′ 18 ”)

JURY’S JUSTIFICATION: In a historic moment in which it is necessary to create spaces to show a non-standardized cinema, and necessary to remember that cinema is art, and necessary to fight for freedom of expression, the most resounding cry is the one that shows that cinema cannot be silenced.

Best Original Idea / Treatment

Rodrigo Almeida and Estevan Santos, for “Caixa Forte” (SP), 16mm (03 ′ 39 ”)

JURY’S JUSTIFICATION: To kidnap oneself. A man running away from himself and the world. Is the reality on the screen or is it just your projection?

Best Shot or Scene

“Man.Road.River”, by Marcellvs L (MG), shot with a Mini-DV (09 ′ 27 ”)

JURY’S JUSTIFICATION: For the mastery of recording unpremeditated events, without letting escape the poetry of a fleeting every day, in a shot that concentrates the meaning of the entire film.

CineEsquemaNovo Trophy (by the CineEsquemaNovo crew)


JURY’S JUSTIFICATION: For the surprise of the personal encounter, for the spontaneity and importance of his work, for his long, courageous and free trajectory, and for the emotion of the debate, the Festival crew awards the CineEsquemaNovo Trophy to the 'wizard-inventor' Paulo Bruscky.

New Criticism Award (by the students of the Cinema Criticism Workshop)

“Kilmayr”, by Marcio José Schenatto (RS), Mini-DV (10 ′ 00 ”)

JURY’S JUSTIFICATION: For differentiating itself from conventional documentaries by appropriating elements of fictional language, making use of a striking photograph and a vigorous narrative, without giving humor up.


Best Film

“Historietas Assombradas Para Crianças Mal-Criadas”, by Victor-Hugo Borges (SP), 3D / Digital photo (16′ 00”)

Mostra Sala de Aula – 1st Place

“A Farsa do Acre”, by Guga Caldas (SP) / University: ECA-SP, shot with DV-CAM / MPEG (15 ′ 00 ”)

Mostra Sala de Aula – 2nd Place

“Toniolo”, by André Moraes and Caco Pacheco (RS), University: PUC / RS, shot with Mini-DV (21 ′ 52 ”)

Mostra Sala de Aula – 3rd Place

“Velvet and Glass Shards”, by Marco Martins (SC), University: UNISUL / SC, shot with Mini-DV / DV-CAM / 2D Animation (17 ′ 00 ”)