Artwork by Nina Pandolfo
From October 17th to October 30th, occurred the traditional São Paulo International Film Festival. For two weeks, 328 titles from 65 countries were exhibited in various addresses, amongst cinemas, cultural centers and museums around the capital city, including free outdoor screenings.
The selection was provided an overview of the world contemporary cinema production and of the tendencies, themes, narratives and aesthetics produced worldwide. The 43rd Mostra was composed by six sections: Special Screenings, Tributes, Restorations, New Directors Competition, Mostra Brasil and International Perspective.
Born in São Paulo, Brazil, in 1964. In the early 1980s, he started na acting course with Wolney de Assis (1937-2015). Brant made super-8 movies, which did not take him away from the theater. Then, hestarted attending movie club sessions, a period in which the cinematic influence overlapped the other arts. One of the essential names of the Brazilian Retomada, he graduated in cinema from the FAAP and began his career directing music videos for bands like Titãs. He directed short films such as Dov’è Meneghetti? (1989, 14th Mostra) and Jó (1993, 17th Mostra), before releasing his first feature, Belly Up (1997). He also directed Friendly Fire (1998, 22nd Mostra), The Trespasser (2002), Delicate Crime (2005, 29th Mostra), Stray Dog (2007), Love According to B. Schianberg (2010, 33rd Mostra), I’d Receive the Worst News from Your Beautiful Lips (2011, 35th Mostra) and Pitanga (2016), winner of Critics Prize for Best Brazilian Feature at 40th Mostra.
Born in Buenos Aires, Argentina, in 1975. He studied for three years at the University of Cinema, in the Argentine capital. Alonso is one of the leading names of the New Argentine Cinema, movement that emerged in the early 2000s, and his films have been screened and awarded at major festivals in the world. He began his film career as a sound assistant and then director assistant. In 1995, he wrote and directed the script of the short movie Dos en la Vereda, with Catriel Vildosola. In 2001, he directed, wrote, produced and edited the acclaimed La Libertad (2001), his debut feature that was awarded at Rotterdam Film Festival. He also directed the features Los Muertos (2004, 28th Mostra), awarded at Karlovy Vary, Fantasma (2006) and Liverpool (2008, 32nd Mostra), in addition to the shorts Lechuza (2009) and Sin Título (Carta para Serra) (2011). Jauja (2014, 38th Mostra), his most recent work, won the Critic’s Prize at the Un Certain Regard at the Cannes Film Festival.
Born in Lisbon, Portugal in 1965, Maria is an actress, screenwriter, singer and director. She began her acting career in 1982 in Silvestre (27th Mostra), by João César Monteiro. She worked with the most important Portuguese filmmakers such as Manoel de Oliveira, in The Divine Comedy (1991, 15th Mostra). In 1994, she won the Volpi Cup for best actress at the Venice International Film Festival for Two Brothers, My Sister (1994, 18th Mostra), directed by Teresa Villaverde. Maria made her directorial debut with The Death of the Prince (1991, 16th Mostra). She also directed April Captains (2000), Jury Award of Best Picture at the 24th Mostra; the documentaries Je T’aime, Moi Non Plus (2004, 28th Mostra) and Repare Bem (2012, 36th Mostra); segments of the collective films Welcome to São Paulo (2004, 28th Mostra) and Invisible World (2012, 36th Mostra), both produced by Mostra; and the feature Between Two Strangers (2015, 19th Mostra). She was a member of the Jury of the 18th Mostra, in 1994.
Xénia Maingot studied Eastern Europe languages and civilizations in Toulouse, Paris and Moscow, before she turned to cultural management and to the film industry. As producer, she worked with Michel Reilhac at Mélange Productions, making documentaries, short films, feature films and TV programmes. From 2003 and on, she was invited to be production manager on several feature films produced by Slot Machine, such as Dogville (2003, 27th Mostra), by Lars Von Trier, and The Headless Woman (2008), by Lucrecia Martel. Xénia founded Eaux Vives Productions in 2008 while working as freelancer for several production companies and as line producer for shootings abroad. She is a member of the European Film Academy and, since 2012, is part of the jury for the Cinema Construction Prize at Cinélatino in Toulouse. The producer also regularly lectures for students at La Fémis, film and television school based in Paris, France.
The artwork of the 43rd Mostra takes us to the playful and sweet universe of Nina Pandolfo. For the Brazilian artist, cinema starts in the head, and ideas, as well as fantasy, come from the head and spread themselves around the world. The nature girl in our pôster may seem to carry some naivety in these rough times, but she also seems to have ancient wisdom. The DNA of Brazil is also found in the film that opens Mostra this year. Wasp Network is a Brazilian production based on the book The Last Soldiers of the Cold War, written by Fernando Morais. Mostra will pay tribute to the film’s French director, Olivier Assayas, by awarding him with the Leon Cakoff Prize and screening his many thought provoking films as part of a retrospective of his career. Israeli filmmaker Amos Gitai will also receive the Leon Cakoff Prize, and Mostra will screen two of his most emblematic films: Berlin-Jerusalem, which is celebrating its 30th anniversary, and Kadosh, which is turning 20. Gitai will also release Em Tempos como Estes, a book that gathers correspondence from his mother, Efratia, sent between 1929 and 1994. The Humanity Award will be presented to Palestinian filmmaker Elia Suleiman. The tribute will include two of his most importante films, Divine Intervention and Chronicle of a Disappearance, as well as his most recent one, It Must Be Heaven, which received a Special Mention at the Cannes Film Festival. Mariette Rissenbeek, current Executive Director of the Berlin International Film Festival, selected titles that were particularly memorable during her 16 years at the helm of German Films and which provide an overview of Germany’s recent production. German cinema will also be present at Mostra with The Cabinet of Dr. Caligari, a masterpiece of German expressionism and this year’s choice for the traditional outdoor screening at Ibirapuera Park. As in recent years, the musical score will be performed live by the Brazil Jazz Symphony, once again conducted by maestro João Maurício Galindo. The history and origin of cinema will be a part of Masp’s free span programme. Restored copies of George Méliès films and two animated shorts from the early days of Brazilian cinema will be screened with live music on October 27th, in celebration of the World Day of Audiovisual Heritage. Mostra will also pay tribute to film critic Rubens Ewald Filho, who died this year, by screening The Wizard of Oz, one of his favourite films, at Masp’s free span. Brazilian filmmaker Luiz Rosemberg Filho, who also died in 2019, will be remembered by the screening of his last film, Jester. Mostra will also present O Jardim das Espumas and Crônica de um Industrial, two of his most important films. Speaking of memory, Mostra will celebrate the 25th anniversary of a masterpiece of contemporary cinema: Satantango, by Hungarian director Béla Tarr. The festival will screen a restored copy of the film. This has been an exceptional year for Brazilian cinema, and Theatro Municipal will screen a selection of films that represented our country at major film festivals abroad, including Cannes, Toronto, Sundance and Venice. There is a strong focus on Brazilian cinema, but Mostra will also present the newest films by great masters of international cinema, which were celebrated in the festival circuit and have been very anticipated by the Brazilian audience. The programme will include the movies that won the main awards in Cannes, Berlin and San Sebastián. At the same time, with the New Directors Competition Mostra continues to take a close look at filmmakers making their first films. The festival is also always open to new languages, giving space to virtual reality films, and will innovate by turning the cycle Memórias do Cinema into a podcast. In addition to this year’s guests, the podcast will include the testimonials of Eduardo Coutinho, Hector Babenco and Rubens Ewald Filho. The III Forum Mostra will again bring artists, producers, government workers and students together to think about the creative, political and market aspects of the audiovisual sector. If the opening film of Mostra has Brazilian DNA, so does the closing film: Two Popes, the anticipated return of Fernando Meirelles to directing feature films. It is an international production which shows us that cinema goes beyond borders, just like the balloons of our nature girl. We are thankful to our sponsors for their confidence and for making another great Mostra with us. And we are also grateful to our audience for another year in their company. Renata de Almeida and the team of the 43rd Mostra