An audiovisual art festival in the middle of The Times They Are A Changin, like the song by Bob Dylan, from our Brazil. And the consequent essential question: what is it necessary to say? Or above all, do? Or more specifically, display?

In designing this text that you are currently reading, we are faced with our recent past. With what we have written and organized, in the last editions, to share with the world as a proposal and to have a curatorial look at CEN. We wanted, as always, to continue a larger thread, something that goes beyond the edition of a specific year: this is a narrative that has been growing, transforming, for 15 years. That keeps track of time. Time that blows change. They Are A Changin.

And what was our surprise when we realized that talking about “resistance” today, no longer has the same meaning as in 2016 or even 2017.

At CEN 2016 (our last edition), the theme of resistance was already there in bold letters. Not only to speak of resistance in terms of preserving the diversity of the audiovisual language, something that defines us as a festival, but also of resistance to ensure different ways of seeing the world, seeking balance, sublimating antagonisms. Being and doing politics. To be and do everything. Something that also defines us. We said:

Resistance of film in a digitalized world, resistance of art in the midst of censorship attacks, resistance of liberties versus retrograde moralism, political resistance (and everything is political) in the face of a new tsunamic conservative wave. We want to believe that the schedule we have prepared for this edition acts as a barrier that protects our most beautiful delusions. (...) There is war in them. There is resistance. From them, a multi-and transgender, indigenous, anarchic, reminiscent, unfocused, ethical, amoral political-aesthetic emerges. An apocalyptic poetics. That even when it isn’t, it is. (...) Because life, and consequently art, is made of reality but also of dreams. And where does one end, and the other begins? This is the mystery that turns delusion into change; that is the need to “build the barrier” that makes you resist.

The first thought for this year would be: “if this was our message in 2016, what would our message be in 2018 but the need to resist?”

But it seems to us that this should not be the thinking now. Perhaps it is really good not to talk about “resistance” while the varnish that glues and gives unity to CEN 2018. It is necessary to facilitate the next phase: moving from catharsis to construction.

We believe that “resisting”; is no longer the only thing we need to say, do or show at this point. Especially because, in our hearts, this will always be underlying. The change imposed itself as a reality. What to do with her? What to say, do and exhibit as a festival that has always wanted to build bridges, and not dig pits or build walls?

The production selected for this year evidently screams for help, feels pain, alerts, opens absurdities and lampoons. But slowly (even because it represents a period of Brazilian production slightly before the height of madness that has been in the hearts and minds of Brazilians in recent months) it seeks to take all this chaos elsewhere.

The winds of change also blew over CEN’s Competitive Exhibition Brazil and this year the curatorship was reconfigured and composed by the festival organizers, Jaqueline Beltrame and Ramiro Azevedo, and by the guest and partner Vinícius Lopes of the producer Pátio Vazio. The exhibition, which is the core and heart of CEN, has always had the characteristic of reflecting Brazilian society and the beauty of its plurality - they are Indians, blacks, women, trans, immigrants in the most diverse portraits on the screens and also portraying their realities. Belonging, queer, religiosity, memory, colonialism, ancestry, pop and pastiche culture, real estate speculation, criticism of agro - these are just a sample of the subjects covered in this selection of 39 works. There were 875 entries - 666 short and medium-length films, 103 feature films and 106 video installations, video performances and performances from 24 states. A very broad overview of what we Brazilians are producing at the moment.

Among those selected, a beautiful dialogue with filmmakers from many states in the Northeast and Midwest. The list includes 13 projects directed by groups, 13 directors and 36 directors from eleven states and nine productions signed by Brazilians abroad, of extremely positioned and political works - regardless of their language. More Brazilian than ever - bringing borders and accents closer, representing the four corners of the country, exposing both our roots and our contemporary beings, in an anthropophagic hodgepodge that would make Oswald de Andrade proud. More than resisting, our mission as a festival of Brazilian Audiovisual Art has been accomplished: we portray our existence. And regardless of where our policy will take our country, we will continue to exist.

Our guest artist for this edition, the German Philip Widmann, presents the Topographical Translations Exhibition, which brings together works by him and other artists who try to situate issues of representativeness and intelligibility. In his work, Widmann questions an exchange of experience between cultures, languages and presences, as well as exploring the possibilities of mediation that transcends individual subjectivities. An academic record in Cultural Anthropology informs its practice in essayistic and experimental documentary forms to the same extent. In this continuous search movement, Widmann locates the field of his explorations firmly on the ground, even if the subjects he deals with rise to the sky or have already left the material and visible world, as they exist.

The Duo Strangloscope, by the directors Cláudia Cárdenas & Rafael Schilchting, longtime partners of CEN, presents a special exhibition this year. Existing / Resisting raises questions and dialogues that arise in times of change. The Times, They Are a Changin '. How to persist, resist, continue in times of crisis, urban guerrilla, catastrophe? How to think politics today? How to think about art and politics? How to think otherness? How to work and create together? What do we do and what do we think about when we build images? How are we built from images?

How to think of a new way of existing in the midst of what we live?

Existing and creating. “Creating shapes and sounds is to inhabit them and be inhabited by them. Visual and sound landscapes / images are one of the modes of presence that make the reality of the object itself and its existence one. To imagine is to be absent, it is to launch yourself into a new life ”.

And in the search for new forms and ways of existence and resistance, our training activities also meet these questions. The Causa Camera Workshop, given by Gustavo Spolidoro and Jadhe Fucilini, provides socially vulnerable groups, welfare entities, groups, schools and entities with social work, an audiovisual understanding and realization process that helps these collectives to expand their struggles and make them increasingly public and recognized. Instrumentalizing these characters almost always without a voice, the project offers a space previously not reached by these groups, where they are represented. Existence is viralized. An opportunity for those who are always unseen to open windows of content created by these groups, in an independent, authorial and free way.

Journalist and film critic Daniel Feix brings an analysis of contemporary Brazilian audiovisual production in his Critical workshop in Brazil Today, presenting both what is currently produced in our country and a new way of analyzing these productions at the same time. The Times, They Are a Changin '. We no longer make films as we used to, much less watch and think about them in the same way. It is also necessary to rethink how we analyze and criticize.

Contemporary image is also the theme of the Seminar Pensar a Imagem, with visual artist, professor of Visual Arts at UFRGS Elaine Tedesco, professor at Unisinos and PhD student in Visual Poetics at UFRGS James Zortéa and journalist, doctor in cinema and professor at PUCRS Maria Henriqueta Creidy Satt. A reflection on the contemporary image, addressing theoretical, technical, conceptual, narrative and circulation specificities, among other aspects, associated with the authorial and experimental production of images in the 21st century.

Existing is more than ever our resistance in these times of change. We question ourselves and go in search of new answers and points of view, our necessary mission to remain present, existing and producing. May this edition of Cine Esquema Novo 2018 be as inspiring for each person present in our activities as this construction and exchange has been for us.

And to survive the winds of change, a little bit of Brecht’s wisdom to light our way:

“Our enemies say: the fight is over.

But we say: it started.

Our enemies say: the truth is finished.

But we know: we still know it.

Our enemies say: even though the truth is still known

it can no longer be released.

But we will disclose it.

It is the eve of the battle.

It is the preparation of our staff.

It is the study of the fight plan.

It is the day before our enemies fall.

Of all the safe things, doubt is the safest. ”

Cine Esquema Novo

Alisson Avila, Gustavo Spolidoro, Jaqueline Beltrame, Ramiro Azevedo


The Cine Esquema Novo - Arte Audiovisual Brasileira 2018 will take place between November 22nd and 28th, with free activities at Cinemateca Capitólio Petrobras, Goethe-Institut Porto Alegre and Ocupação Utopia e Luta. There are three exhibitions, two workshops and two seminars that are part of the event's program, which in 2018 completes 15 years of existence and reaches its 12th edition.

The Cine Esquema Novo program starts in style, with a special opening session: on November 22 at 8 pm at Cinemateca Capitólio the audience will be able to check out the show of the instrumental trio Reverba Trio, for a handful of tracks, where the group performs versions of great movie classics, like The Godfather, Shark, Amarcord, Blade Runner, The First Night of a Man and ET, the extraterrestrial. The arrangements traditionally composed for large orchestras were converted to the power trio format formed by guitarist Julio Cascaes, bassist Régis Sam and drummer Gustavo Telles. For a Handful of Trails will feature projections and images selected by Carolina Grimm.

After the presentation, the Competitive Exhibition Brazil opens its programming at 9 pm with the exhibition of A Cidade dos Piratas, by Otto Guerra. The Competitive Brazil Exhibition presents 39 works - 35 exhibited at the Cinemateca Capitólio and four video installations exhibited at the Goethe Institut, corealizers of CEN 2018. Selection has 13 projects directed by groups, 13 directors and 36 directors.

There will be 35 works exhibited at Cinemateca Capitólio and four video installations that will be exhibited at the Goethe-Institut Porto Alegre, co-directors of CEN 2018. The selection has 13 projects directed by groups, 13 directors and 36 directors. Themes such as feminism, empowerment of blackness, current politics, colonialism, indigenous issues, belonging, religion, queer, among others, feature the selected titles of eleven Brazilian states and nine productions signed by Brazilians carried out abroad (or in international co-production).

“In this broad panorama of the recent authorial and independent production in the country, it is quite clear that it will be an extremely positioned and political edition”, affirm the curators who sign the selection, Jaqueline Beltrame, Ramiro Azevedo and Vinicius Lopes. The list includes titles such as “Sol Alegria”, by Tavinho Teixeira and his daughter Mariah Teixeira, a lo-fi science fiction, where an untraditional family runs through a country dominated by a military junta and corrupt pastors; “Supercomplexo Expandido Metropolitano”, by Guerreiro do Divino Amor, which investigates as hidden forces and fictions of different natures, whether geographic, social, media, political or religious, interfere in the construction of territory and the collective imagination the idea of machine-city in Sao Paulo; and “Azougue Nazaré” by Tiago Melo, elected the best film in the Bright Future exhibition of the 47th edition of the International Film Festival in Rotterdam, which incorporates supernatural elements in an almost anthropological portrait of a small sugarcane community, divided between Maracatu and evangelism .

Highlight also for “Majur”, documentary by Rafael Irineu Alves Lacerda that shows a year in the life of Majur, head of communication for a village in the interior of Mato Grosso; “O Peixe”, an experimental documentary short film that portrays a fishing village that has the ritual of embracing fish when fishing; as well as “Terremoto Santo” by Bárbara Wagner & Benjamin de Burca, a short musical with young singers from the evangelical music scene in the city of Palmares in Pernambuco, exploring the country's evangelical culture with poetry and a very authentic photography direction.

The festival that, for fifteen years and eleven editions, breaks down the symbolic and experiential barriers between cinema and the visual arts to exhibit works both in the traditional cinema room and in art galleries and public spaces, will present the performance “Título Provisório Para Obras de Indeterminate Formation ”, by Marcelo Birck. Performed in real time, it displays animations made by hand in super-8, ancient blades of magic lantern, and slides found with sound generated from a process similar to the assembly of the cinema, transposed to another material: laser cut vinyl and recollected.

Among the filmmakers from Rio Grande do Sul, “Tinta Bruta”, by Marcio Reolon and Filipe Matzembacher, was awarded as Best Feature Film at the 68th Berlin International Film Festival and “Music for when the lights go out” by Ismael Canepppelle.

The public will be able to check out three films with accessible sessions at the Cinemateca Capitólio Petrobras: on November 23, at 5 pm, the feature A Cidade dos Piratas will be shown and on the 27, at 3 pm, the films profanation and Majur.

The Competitive Exhibition will award at the end of the event, on November 28, at 8 pm, at the Cinemateca Capitólio, the Grand Prize Cine Esquema Novo 2018 and five Special Jury Prizes (the Official Jury may award up to five prizes, free of charge, among all works in competition), with the support of Locall. The jury for this edition is composed by Leo BomFim, Renata de Lélis and Romy Pocztaruk.

German director Philip Widmann, guest artist at CEN 2018, comes to Porto Alegre to exhibit an exhibition and seminar with free admission to the Goethe-Institut Porto Alegre. Topographical Translations brings together works that try to situate issues of representativeness and intelligibility in the visibility of built and grown surfaces, contrasting with the evanescence of written and spoken discourse. The artist will present two programs in the auditorium of the Goethe-Institut Porto Alegre: at 2 pm, the short films Fictitious Force, Das Gestell (both by Widmann), in dialogue with the films The Voice of God (by Bernd Lützeler) and Nutsigassat (Translations) ( by Tinne Zenner), and at 4 pm, the director’s first feature film, Szenario. At 5:30 pm, Widmann promotes a seminar with free admission. The films have subtitles in Portuguese and the seminar will be held in English. On the 26th, the show is replayed at the same time.

The Duo Strangloscope, by artists Cláudia Cárdenas & Rafael Schilchting, promotes the Exist / Resist show on the 27th, at the Cinemateca Capitólio. The duo performs the Carcará performance, with 35mm, 16mm and Super 8 films and projectors and curates six experimental films by artists from Mexico, Argentina, USA, Spain, Venezuela and France, three of them in 16mm, which reflect and shape to questions about existence and resistance.

Two workshops are part of the event’s program: Critique in Brazil Today, taught by journalist and film critic Daniel Feix, takes place on November 22, 23 and 26, at the Cinemateca Capitólio. The three-module course on contemporary film analysis with a focus on current Brazilian cinematographic production takes place from 3 pm to 6 pm and has 20 vacancies. Entries must be made through the festival website. The Causa Camera project, taught by Gustavo Spolidoro and Jadhe Fucilini, takes place on November 24th and 25th at Ocupação Utopia e Luta and will feature screenings of the films made in the workshop on the 27th, in the auditorium of the Goethe-Institut Porto Alegre.

Workshop aimed at people belong to or work with social projects and groups in social vulnerability. The aim is to bring to these groups / people a reflection and practice of audiovisual realization aimed at creating content that can be used to disseminate the work of these groups, their reality and causes. Registration is open until November 18 and the 20 places will be filled by selection, made by the festival’s website. The selection will be announced on the 20th.

On Saturday, November 24, from 10:30 am to 12:00 pm, the visual artist, professor of Visual Arts at UFRGS Elaine Tedesco, professor at Unisinos and PhD student in Visual Poetics at UFRGS James Zortéa and journalist, doctor in cinema and professor at PUCRS Maria Henriqueta Creidy Satt is part of the Seminar Pensar a Imagem, in the auditorium of the Goethe-Institut Porto Alegre. The activity is a reflection on the contemporary image, addressing theoretical, technical, conceptual, narrative and circulation specificities, among other aspects, associated with the authorial and experimental production of images in the 21st century. No prior registration is required.

With funding from the public notice to support festivals and exhibitions from the Ministry of Culture / Audiovisual Secretariat, Cine Esquema Novo 2018 takes place at Cinemateca Capitólio and Goethe-Institut Porto Alegre. CEN is a realization of ACENDI - Associação Cine Esquema Novo de Desenvolvimento de Imagem, in co-realization with the Porto Alegre City Hall through the Municipal Secretariat of Culture and Cinemateca Capitólio Petrobras and Goethe-Institut Porto Alegre, institutional support TECNA PUCRS, award support from Locall and support from Prime Box Brazil, Unisinos FM, Grupo RBS, Studio Leo Zamper, and Ocupação Utopia e Luta.

Winners Cine Esquema Novo - Brazilian Audiovisual Art 2018

Grand Prize Cine Esquema Novo 2018 - Diamante: “With a unique sensitivity, 'A Casa' transports us to a time where memory is an artifact for the construction of female identity. Enigmatic, subtle and intense ”. THE HOUSE, Camila Leichter

“Jacui's dead princess', science fiction B in the confines of progress in Rio Grande do Sul, where the belief in fabulous possibilities creates a delusional narrative”. PRINCESS MORTA DO JACUÍ, Marcela Ilha Bordin

Highlight Award Cine Esquema Novo 2018 - winners

Rubi Award: “Highlight for the collaborative work between the directors and the group of Bagaceira Theater, which yielded great performances,“ Inferninho ”is a plastic film. The millimetrically constructed image, together with the dreamlike density of the scenery and characters, transforms the work into an aesthetic and sound experience that deserves attention ”. INFERNINHO, Guto Parente and Pedro Diógenes

Pirita Award: “A Cidade dos Piratas', a narrative organization that instigates a mosaic on male sexuality in its fears and desires, promoting an anthology of many periods and moods in Laerte's work, in a radical montage work that translates for the cinema the fragmented and subversive language of comic strips ”. THE CITY OF PIRATES, Otto Guerra

Amethyst Award: “With a surrealist character where the mouth becomes the vulva itself,“ BUNITAS ”reconstructs the myth of the desired and frighteningly dangerous“ toothed vagina ”. The film leads to the poignant need to know and recognize the asymmetrical beauty of the female genitalia, its mysteries and pleasures. A necessary, impactful and sensual film ”. BUNITAS, Estela Lapponi

Black Tourmaline Award: “It presents characters built with multidimensional characteristics, showing from human fragility to ancestral forces that manifest in Maracatu, in jealousy, in joy, in football, in faith. For the very well-orchestrated complex balance between actors and non-actors ”. AZOUGUE NAZARÉ, Tiago Melo

Calcita Award: “Mystical thriller under the sign of a thousand and one nights. A prism of narrative possibilities, “El Meraya” is an underground enigma. ” EL MERAYA, Melissa Dullius and Gustavo Jahn

Honorable Mention from the Jury: “For the blunt political approaches” TINTA BRUTA, Marcio Reolon and Filipe Matzembacher | WITHOUT TITLE (5), Maíra Flores and Luciano Scherer | EXPANDED METROPOLITAN SUPERCOMPLEX, Warrior of Divine Love

Service awards

Locall - R$ 7,000.00 (seven thousand reais) in equipment rental to be redeemed at the Porto Alegre branch


LEO BOMFIM: Carioca journalist based in Porto Alegre, he has been a programmer at Cinemateca Capitólio Petrobras since 2015 and Sala PF Gastal since 2013. He is editor of the Freakium website and of the film critic fanzine Zinematógrafo. Co-director of the documentary On the walls of the enchanted stone (2011), on the album Paêbirú, by Lula Côrtes and Zamalho. Composer and guitarist in the band of the psychedelic gaucho singer Plato Divorak.

RENATA DE LÉLIS: Actress-dancer, researcher and teacher, master in Artistic Performance-Dance at FMH-Lisbon. She has acted as a theater and audiovisual actress since 2005, having received five awards at festivals throughout her career. He is a member of COLECTIVO HABITANTES, an interdisciplinary collective that has been researching body and technology since 2015. With the video art Onda, produced by the collective, he participated in FILE - SP, in 2016 and 2017 and in the Live Cinema Festival, Italy, in 2016. In 2018 the collective participates in the Kino Beat with the video installation Beej.

ROMY POCZTARUK: Master in Visual Poetics from the Federal University of Rio Grande do Sul (UFRGS). His work deals with simulations and with the position from which the artist interacts with different places, and with the possible relationships from the intersection of different fields and disciplines (such as science and communication) with the field of art, generating poetic results in different media and supports. He held solo exhibitions at the CDF Centro de Fotografia de Montevideo (2016), Centro Cultural São Paulo (2015), SIM Galeria (2014), Gestual Gallery (2014) and Instituto Goethe POA (2013).

Numbers of CEN 2018

10 award-winning films

3 shows

39 films selected for Competitiva Brasil

13 projects run by groups

13 directors

36 directors

9 productions signed by Brazilians abroad

34 films on display at the Capitol Cinematheque

2 sessions with accessibility

1 film in the Capitol exhibition space

4 films in the Goethe-Institut gallery

-2- Musical Numbers

2 - Seminars

More than 30 hours of programming in a cinema room, galleries, streets and city walls;

22 movie theater sessions

2 workshops


Who did CEN 2018:

Curatorial Competitive Exhibition Brazil: Jaqueline Beltrame, Ramiro Azevedo and Vinícius Lopes

Curated by Topographical Translations: Philip Widmann

Curatorial Exhibition Strangloscope: Cláudia Cárdenas & Rafael Schilchting

“Criticism in Brazil Today” course: Daniel Feix

“Causa Camera” Course: Gustavo Spolidoro and Jadhe Fucilini

Seminar “Thinking the Image”: Elaine Tedesco, James Zortéa, Queta Satt

Jury Competitive Exhibition Brazil: Leonardo Bom Fim, Renata de Lélis, Romy Pocztaruk

Production Team: Jaqueline Beltrame (coordination), Arthur Ferraz, Kamyla Claudino Belli, Marco Mafra and Tulia Radaelli

Programming Team: Ramiro Azevedo (coordination), Isabel Cardoso

Communication team: Bruna Paulin (coordination), Bruna Paulin and Lucas Thompson (press office) and Juliana Palma (reportage and social networks)

Website: Pomo Studio (Gabriella Tachini and Fred Messias)

Photography: Thiéle Elissa

Art - conception & design: Gustavo Panichi

Vignette: Kamyla Claudino Belli

Official Radio CEN 2018: Unisinos FM


Legal advice Patricia Goulart

Official Meeting Point CEN 2018: Kaza Zamper