Cine Esquema Novo 2009

CineEsquemaNovo has grown up. It will not be necessary to explain much for you to realize this: just check out the diversity and extent of our programming in 2009 to understand this and, above all, enjoy it.

In addition to the permanent competitive section of short, medium, and feature films at the festival, which always offers a wide panorama of independent and contemporary Brazilian audiovisual production, we bring two important international festivals to Porto Alegre this year. The expansion of CEN's content to other frontiers is a gradual project that we started last year, with isolated screenings of two films from Portugal and the United States. In 2009, we took another considerable step towards meeting the Porto Alegre Film Festival with other cinematographies and audiovisual creations from around the world.

Let's start with the Zona Livre Exhibition. Intense flow of information, downloads, copyrights and copylefts (and breaks of display zone codes) inhabit the conceptual tangle of this section, curated by two representatives of the newest generation of Porto Alegre filmmakers: Davi Pretto and Bruno Carboni, from Tokyo Films. We will screen long, medium, and short films that drew the attention of several festivals around the world, but that ended up building their true reputation within a parallel circuit of circulation and reflection: the internet cinema forums and communities.

More than bringing unpublished films in Porto Alegre and in Brazil to the public, the Mostra Zona Livre helps us to reflect on democratization and parallel ways of information, as well as the inevitable (and permanent) process of changing screens to which the image it is submitted today in our hands. In this case, from the computer to the festival. The premise was applied to the curation method itself: the films were relevant, but notwithstanding that, we added the healthy transposition of these “files”, which came from the internet film buffs' networks, into “films” screened with the authorization and support of their directors in the eternal collective experience of the cinema theater.

To help us deliver this message, Sala PF Gastal and Cine Bancários received productions from Belgium, Japan, South Korea, France, Hungary, Argentina, the United Kingdom, and the United States. The latter is the country of director Cory McAbee, who participates in the festival with two features: one at Mostra Zona Livre, and another as a guest at the international premiere, at the end of CineEsquemaNovo 2009: “Stingray Sam” is a film divided into 6 episodes, originally designed for integrated or fragmented exhibitions on different screens. Screened at the 2009 Sundance Festival, “Stingray Sam” will be screened on October 24, at 7:30 pm, before this year's CEN awards.

The Mostra Cine en Construcción, our second international program of the season, is a partnership between CineEsquemaNovo and the project of the same name - originally from the Toulouse festival in France, and which also takes place at the San Sebastian Festival in Spain. Cine en Construcción promotes and advocates Latin American production, taking it to new distribution and exhibition networks. Seven films in Spanish and Portuguese (from Uruguay, Chile, Mexico, Colombia, Brazil, and Argentina), awarded and screened at many of the most influential international festivals, will be featured at Cine Santander Cultural. Once again, there will be some recent and unpublished works in Brazil.

A third and very special section completes CEN's special programs this year. It calls to mind the first editions of CineEsquemaNovo - years strongly influenced by the spirit of the filmmakers who are part of it, and who put their youth and energy in so many films. The Mostra Cinema Marginal Brasileiro is an offshoot of the homonymous collection, published this year in DVD format by Heco Produções alongside Lume Filmes, and which is comprised of 12 DVDs, with 38 films, that were produced (including works never released commercially) from as early as the 1960s. The first four volumes, dedicated to Andrea Tonacci, Rogério Sganzerla, Elyseu Visconti, and André Luiz Oliveira, will be fully screened and published at the Festival.

Changing focus and talking about CEN 2009's competitive exhibitions, we have reached a time of paradox. CineEsquemaNovo has grown, but on the other hand, its competitive sections are becoming increasingly smaller, concentrated in few films that we consider “essential” to compose the panorama. Of the nearly 800 films submitted, we selected 22 short films and 4 feature films. The need to give space to the films of young directors, a basic premise for some years for CEN, no longer exists. We have an infinite number of parallel channels, duly legitimized, as well as film festivals of all types scattered throughout Brazilian cities to fulfill this role. It was with this in mind that we were totally free to present a festival that will go beyond this proposal to screen only films that were unanimous among the five members of the jury - not coincidentally, also organizers of the festival. There were no concessions.

Within this process of evaluating the received material, we perceived two major proposal divisions. The first involves the profound need expressed by some filmmakers to register their own reality, or that of specific groups, in a kind of process of affirming their reality. These are productions with personal points of view and attention to everyday details that the most important screen in Brazil, that is, the TV, does not seem to be able to keep up with. These films seek in every way to establish a particular identity for each object filmed, as in response to generalizations about what Brazil, its regions, its social groups, and their own lives seem to be targeted in everyday life.

On the other hand, among the films submitted by directors who are making cinema in the 00s, our attention was drawn to the increase in the number of films that permanently break down gender boundaries. This isn't new to us, as we have invested in this difficult-to-explain type of cinema since the first edition of CEN. Hybrid and in-transit cinema, related to the visual arts, has always interested us - and we received particularly rich material on it in 2009.

From this intersection, there is a strengthening of the idea that the films of the festival, and the festival itself, doesn't offer the audience a packaged answer, or one necessarily attuned to the cognitive universe of the spectators. Instead of focusing on getting broader and broader, we have dedicated ourselves to throwing a rendezvous that, for an intense week, establishes an intimate relationship with each one of those who intend to think about film with us at this moment.

In order to deepen these issues, we have made a few twitches to the structure of the festival's cinema workshops and created a cycle of seminars, in which each member of the award jury will give a lecture open to the public. The meetings will take place daily in Sala PF Gastal, during the mornings, led by César Migliorin, Christian Saghaard, Lina Chamie, Maria Helena Bernardes, and Maria Henriquieta Satt.

Through these seminars, we want to talk and think about issues such as “Image Policies and Contemporary Documentary”, “Language and film production in children's films”, “Cinematographic direction and the role of the director”, “The participation of the image in movement in the history of art and its presence in contemporary production ”and also“ The Documentary and the reinvention of the real”. This program takes place with Mostra Aula de Cinema [Film Class Section], the new name of the well-known Mostra de Aula do CEN [CEN's Classroom Screening], which in 2009 will screen 24 short films produced in cinema teaching institutions. This approach enables new generations of directors, as well as all interested parties, to have access to the enjoyable exercise of thinking about cinema. The Film Criticism Workshop completes this side of the festival: this year led by Daniel Feix, it delivers, through voting and discussion among its participants, the New Critics Award for the Best Feature of the Festival.

We set up a whole week of activities to celebrate independent and contemporary cinema - this time, not only from Brazil but also from abroad. And all these looks will be crossed in a great final debate for the closing of CEN 2009, which takes place on the afternoon of Saturday, October 24, at Sala PF Gastal, Usina do Gasômetro. And that, like everything in the festival, is free of charge.


OFFICIAL JURY AWARDS [Cezar Migliorin, Christian Saghaard, Lina Chamie, Maria Helena Bernardes, Maria Henriqueta Creidy Satt]

Best Feature Film

“Ressaca”, by Bruno Vianna (RJ / 2009 - 75:00)

JURY'S JUSTIFICATION: “For the direction of the actors, the strength of the scenes and the experiment carried out with live editing”.

Best short or medium-length film

“Sweet Karolynne”, by Ana Bárbara Ramos (PB / 2009 - 15:00)

JURY JUSTIFICATION: “The way the film approaches with delicacy and intelligence its character and theme. The way in which the film desecrates death and praises life stands out”.

Best actor (feature films)

João Pedro Zappa, for “Ressaca”, by Bruno Vianna (RJ / 2008 - 100: 00)

JURY'S JUSTIFICATION: “For the subtlety and competence in the construction of the character.”

Best director (feature films)

Gustavo Beck, director of “A Casa de Sandro” (RJ / 2009 - 75:00)

JURY'S JUSTIFICATION: “For the narrative rigor and for the time and pictorial compositions. There is an investigation in the film about the distance between character and narrator.”

Best director (short and medium)

“Passos no Silêncio”, by Guto Parente (CE / 2008 - 17:00)

JURY'S JUSTIFICATION: “For the construction of the narrative in its immersion in the untranslatable of poetry”.

Best editing (short and medium)

“Muro”, by Tião (CE / 2008 - 18:00)

JURY'S JUSTIFICATION: “For the editing, through which the film powerfully evokes meanings.”

Best experimental treatment (short and medium)

“Flash Happy Society”, by Guto Parente (CE / 2009 - 08:00)

JURY'S JUSTIFICATION: “For the construction of an image-sound narrative and for the experiment with everyday images”.

Honorable mention (feature films)

“Loveless”, by Cláudio Gonçalves (SP / 2009 - 61:00)

JURY'S JUSTIFICATION: “due to the composition of the shots and the rigorous handling of framing and decoupage”

Honorable mention (short and medium)

For Matheus Rocha, Director of Photography of “A Arquitetura do Corpo”, by Marcos Pimentel (MG / 2008 - 21:00)

JURY'S JUSTIFICATION: “For the precision and expressiveness of the cinematography”

Honorable mention (short and medium)

“Perto de Casa”, by Sérgio Borges (MG / 2009 - 09:30)

JURY'S JUSTIFICATION: “For the attention to knavery and for the excellence in the relationship between film, family, and the world”

CineEsquemaNovo Trophy (by the CineEsquemaNovo crew)

Carlosmagno Rodrigues (MG)

JUSTIFICATION: “for the consolidation of a work that has been followed by the festival since its first edition”.

New Critics Award - Feature Films (by the students of the Film Criticism Workshop)

“Ressaca”, by Bruno Vianna (RJ / 2009 - 75:00)

JUSTIFICATION: For the creation of an innovative device, which is at the service of a unique aesthetic experience.


Best Feature Film

“Ressaca”, by Bruno Vianna (RJ / 2009 - 75:00)

Average: 4,115

Best short or medium-length film - first place

“Perto de Casa”, by Sérgio Borges (MG / 2009 - 09:30)

Average: 4,078

Best short or medium-length film - second place

“Sweet Karolynne”, by Ana Bárbara Ramos (PB / 2009 - 15:00)

Average: 3,945

Film Class Section - first place

“1978”, by Tyrell Spencer and André Garcia (Unisinos / RS, 2009 - 05:00)

Average: 4,275

Film Class Section - second place

“Hollywood”, by Laura Montalvão, Marcos Serafim and Thiago Benites (FAP / PR, 2009 - 08:17)

Average: 3,774