Parents often say, as a rule - and in those moments of greatest euphoria - that their children fill them with worries, but especially they fill them with pride. Well, none of the four CineEsquemaNovo organizers and members have had children so far. But the two-year growth and “anniversary” of the festival certainly served as perfect metaphors for trying to understand this process…
That's because we have a living being in our hands: CineEsquemaNovo 2004 - Porto Alegre Film Festival. A festival concept that became a reality in 2003 and, thanks to that, had actual space to mature, face obstacles, know the dangers, discover the successes and the mistakes... And, in the end, sustain the good and try to change what can be changed, in order to improve itself endlessly and, especially, to sustain a very clear concept of Festival.
The construction process of this second edition highlighted the values that effectively mark CineEsquemaNovo. And we want to make this very explicit to you: in this catalog, in the program, in the films, and in all the festival's interfaces. We will throw eight different screenings and programs in five locations, comprising more than 130 films, which you will know all about throughout this booklet. Additionally, there will be a program comprised of workshops and debates focused on unraveling the audiovisual, our defense as a film festival. And lots of information about Ruy Guerra, our guest filmmaker. And also about São Jorge and the Dragon: after all, why is this the symbol of CineEsquemaNovo 2004? You will understand all this by reading what we have to say.
But what does CineEsquemaNovo have to add as a festival, anyway?
Films that point to new audiovisual paths, and especially that defend the diversity of formats, lengths, and techniques of production, as an individual option of the director and his crew, are the intentions that CEN defends. Focused on supporting the Brazilian audiovisual renewal, we value a definitive debate, which will be part of all cinema meetings in the world, but which is not yet definitively understood: the definitive fusion of the classic and centennial film (notably 35mm and 16mm) with new audiovisual technologies. In the day-to-day life of the 21st century, new films are created and screened at movie theaters, or at the home of any spectator, from the mixture of analog and optical with digital. Add to that the variety of movement techniques, created throughout the history of cinema and animation... And a vast panorama of the future of the cinema concept appears before us. That is what we want to disseminate.
The audiovisual presentation submitted to and selected for CineEsquemaNovo contemplates the multiplicity of filmmaking. It is an idea of mixing that goes far beyond the “virtual reality” of blockbusters or super productions with special effects: from feature films entirely made in 35mm to short films made with ten simultaneous and different audiovisual techniques, or even centered on video art and narrative research, CEN is the echo of a production that lacks recognition. The 675 entries received from 20 states and 8 countries (Brazilians residing abroad, or foreigners filming in Brazil) serve as an example of this reality.
The rules gave freedom to the presentation of the various techniques, formats, and lengths employed in each work, in addition to the space for the director to defend his idea or concept built specifically for that “work”. For this reason, the selected films were analyzed with greater involvement and resulted in screenings composed by several titles that had not yet found space on the festival circuit.
CineEsquemaNovo believes that, with new technologies and equipment, films will gradually give up pure form - made in just a single length and format - and will accept hybrid formats, without prejudice, finding diversity. The suggestion is none other than to say that all festivals will come to open Windows for this new reality. Through the number of submissions, CEN proves the need for expression of the directors through the most diverse audiovisual forms, fleeing ghettos or any obligations pertaining to category, genre or format.
The non-assessment of the film's screening format is defined by CineEsquemaNovo as an appreciation of the artist's aesthetic choices: their visual searches for textures and rhythms in a film.
We hope you watch, feel, express, and experience this whole context for which there is still no answer, but which is the center of attention here: the transformation of cinema. Think outside the box and get into CineEsquemaNovo 2004!
PARALLEL PROGRAMME CEN
Ruy Guerra Special, comprised of the screening of five films by the director: “A Queda” (1978), “Estorvo” (1999), “Os Cafajestes” (1962), “Os Deuses e Mortos” (1970) and “Os Fuzis” (1964).
Midnight Sessions: at PF Gastal, at Usina do Gasmômetro - screenings of films produced by people involved in CEN or by jurors, and rare films that were unable to compete at the festival;
Special Screening - The Land: screening of films that offer different readings of the problems of land, such as “Cantos de Trabalho”, by Humberto Mauro, “Brasília, Segundo Feldman”, by Wladimir Carvalho and “Jardim Nova Bahia”, by Aloysio Raulino, among other works;
School Sessions: screening of CEN selected films in high schools;
Audience Award [Mostra Prêmio do Público]: screening of films selected to the Competitive Shorts and Medium-length films category at the Tristão Sucupira Municipal School, in the Restinga neighborhood.
“Introduction to film criticism”, with Alfredo Manevy (RS); “Cinema and Digital Languages”, with Kiko Goifman (MG) and “Film Language”, with Ruy Guerra.
OFFICIAL JURY AWARDS [Alfredo Manevy (SP), Eugênio Puppo (SP), Gustavo Jahn (RS), Kiko Goifman (MG) and Lúcia Koch (RS)]
Best Plan or Scene Trophy (short or medium)
OS PAULISTAS INVADEM! (SP), by Régis Maximillian, Ricardo Nimitz and João Karouak
Several plans stand out, but the jury decided on the plan in which the city of São Paulo, inverted, like a black cloud, flies over attacking the city of Rio de Janeiro.
CRESCI!, by Maurício Saldanha (RS)
For the boldness of the narrative.
KINO COPA, by Igor Cabral and Chico Serra (RJ)
For the humorous and acid chronicle.
Ricardo Machado, by GRINGO IN RIO (RJ)
For the articulation of plans, filmed in a laid-back way.
Best Art Direction
Manu Sobral, for HILDA (RJ)
For the visual construction from few elements and for the contrast between form and text.
Best Use of Animation Languages and Techniques Award
PLUTÃO, by Sávio Leite (MG)
For the work of creation through the manipulation of materials.
Best Photographic Experimentation Award
Jackson Luiz Aliprandini, by REMÉDIO PARA DOR (SC)
For the construction of the film from light and color.
Best Language Experimentation
UM MILHÃO DE PEQUENOS RAIOS, by Daniel Lisboa (BA)
For the strong visual rhythm and for the construction of choreography based on documentary images.
Dennison Ramalho, for AMOR SÓ DE MÃE (SP)
Based on elements of the genre, the director orchestrates an intense and authorial film.
Special Jury Award
GRINGO IN RIO, by Ricardo Machado (PR)
For the ambiguity between documentary and fiction, for the irony and exoticism in the investigation of Rio de Janeiro, and for the taste of a hangover.
Best Short or Medium Film
DA JANELA DO MEU QUARTO, by Cao Guimarães (MG)
For the synthesis, sensitivity, and transcendence.
MCs Marechal and Don Negrone from the film A BATALHA DO REAL, by Matias Maxx (RJ)
For the brilliant duel between the MCs.
New Critics Award (short or medium)
RATOS DE RUA, by Rafael de Paula Rodrigues (RJ)
By using different media, the film develops the concept proposed by the festival and is carried out effectively, without using free ideas or underestimating the viewer.
Director Marcelo B. Conter, for the film ESTRANHOS (RS)
For the tough face of the duo, for their laid-back attitude, for their grace, for their contribution to one of the most interesting and fun debates, for their firmness in exposing their opinions, for their sincerity in agreeing with their mistakes, for the creativity of their film, and as a bet on a promising future.
NOSFERATUM, by Gurcius Gewdner (SC)
For the dialogues, for the cinematography treatment, and for the anti-dramatic staging.
1st place - NADA A DECLARAR, by Gustavo Acioli (RJ)
2nd place - ESTÁ LÁ, É DO INIMIGO?, by Lobito and Jel (RJ), and FOBIA, by Thiago Moysés (DF)
3rd place - AMOR SÓ DE MÃE, by Dennison Ramalho (SP)
Best Documentary (feature) - QUEBRANDO TUDO, by Rodrigo Hinrichsen (RJ)
Classroom Trophy - UMA ESTRELA PRA IOIÔ, by Bruno Safadi (RJ)