COMPETITION

• INTERNATIONAL #5 •

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ARGENTINA, 2021, 17’

OB SCENA

OB SCENE

by Paloma Orlandini Castro

Ob scene makes use of scientific documents and autobiography to create its dramaturgy. "An uterus, two tubes, an ovary, and doubts." Paradoxically aseptically, a diversity of materials is manipulated, displaced, superimposed: her grandfather's treatises on sexology, pornography, performance, personal accounts, drawings, and memories. In this experiment, the director's body is also a file and a device to deconstruct rigid classifications and mechanisms that no longer fit her..

(Paula Santos)

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FRANCE, 2020, 15’

MON IRIS

MY IRIS

by Annabelle Abdul

"Do you see my performance?" Iris asks Annabele, who is behind the camera watching her, and who keeps a distance, broken by Iris. Iris, who builds and plays with images all the time, in her work as a cam girl, in the lyrics of the raps she writes and performs, is the one who leads, escapes, approaches, directs the gaze, with a particular spontaneity. Mon Iris also leaves room for where there is no control: there is shyness, vulnerability, disorder, and charm.

(Paula Santos)

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VENEZUELA/UNITED STATES, 2020, 12’

MALEMBE

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by Luis Arnías

At the same time an experimental ethnography and a homemade happening, Malembe is a visual essay made of cuts and displacements between Venezuela and the USA. With a remarkable aesthetic rigor and a touch of surrealist humor, Luis Arnías explores the contrasts between the landscapes of these two territories, as well as the dialectic between abstraction and reality, form and politics, personal and collective experience, which continues to mark decisively the Latin American avant-garde cinema.

(João Dumans)

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UNITED STATES, 2020, 3’

DREAMS UNDER CONFINEMENT

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by Christopher Harris

Over the radio channel, the frantic Chicago police are calling for vehicles to quell the “Black Lives Matter” protests. Paired with the voices, dizzying Google Earth images simulate the tracking of action, leading from the streets to a major US prison complex. Faced with the tension between what is seen and what is heard, new layers of meaning not mapped by modern surveillance systems emergesanins, in experimental cartography of temporalities and spaces.

(Vanessa Santos)

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MEXICO, 2021, 22’

NOTES FOR DÉJÀ VU

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by Colectivo Los Ingrávidos

With an extensive production of filmic insubordinations, the collective Los Ingrávidos tensions, repeats, destroys, and reedits the forms of memory through a cosmic politics of images. In Notes for a DejaVu, as we immerse ourselves in the crossings between the altars of forest-beings and the streets of the insurgent city in remembrance of the Tlatelolco Massacre, Jonas Mekas' voice echoes with the force of a ritual: “The memories are gone, but the images are here, and they are real.”

(Felipe Carnevalli)

INTERNATIONAL COMPETITION #5
INT 5 | 69' | +18

ONLINE SCREENING

November 7th (8 p.m,) to November 9th (8 p.m.) - BRT
cineHumbertoMauro/MAIS

IN-PLACE SCREENING

November 8th (8 p.m.)
Cine Humberto Mauro - Palácio das Artes

Daily ticket distribution stars at 12 p.m. at Cinem Humberto Mauro box office. Maximum one ticket per person for each section of the day.

PROGRAMA #1
65' | 14 ANOS
PROGRAMA #2
89' | 12 ANOS
PROGRAMA #3
78' | LIVRE
PROGRAMA #4
83' | 18 ANOS