Júlio Bressane

Made for the Venice Film Festival's 70th anniversary, seventy filmmakers made a short film between 60 and 90 seconds long on their interpretation of the future of cinema.

Cropped hair, a rosemary branch behind the ear, yellow shirt of shiny satin, he's behind the wheel of his car when passing by a woman who walks by the roadside. Strongly painted lips, printed dress with round skirt and red shoes matching the color of the lipstick, she catches his attention. He gives her a ride, the two of them stare in silence for a few moments. They introduce themselves to one another and between the two establishes an absurd dialogue and full of metaphors. And they are driving around in corners of Rio de Janeiro, to the sound of Noel Rosa and Lamartine Babo. Eva and Antena, she a seer, he, an assassin on the run, initiate an unusual case of love, a marginal love, where boredom often gives way to tragedy, creating the agony of a holiday spent in an abyss.

"Life and work of the Maranhense poet Sousândrade (1833-1902), illustrated with engravings on Brazilian history, from the discovery to the proclamation of the Republic."

Sentimental Education centers on the unique relationship between Áurea, a lonely 40 year old teacher, and a young man she has just met by chance – one of these encounters which mythology and literature are full of. A delicate soul who finds itself attracted to a beauty that seems to demand, disturb and move her. That shakes her up entirely. During the days following their first conversation, she will expose all her feelings through classes in which he will let himself be carried away. Until an unusual episode from the past is revealed and changes everything.

When I wake will I be someone else?

Between February an May of 1970, Julio Bresane and Rogerio Sganzerla made 7 films for their company Belair that were forbidden by the Brazilian censorship that reveal today images of an unique freedom.

Story with some autobiographical touches taken from director's life.

Collective film with five segments around the works and life of brazilian writer Oswald de Andrade.

A liberal interpretation of the book Galáxias, one of the most important works by the great contemporary Brazilian poet Haroldo de Campos, written between 1963 and 1976 and published in 1986. Bressane considers this work of poetry the Portuguese Finnegan's Wake. The video is a disorganized system of images: an exploration of colors, quotes and sudden inspirations created by the words. A sequence of epiphanies, rigorous in their images. The films cited act as cinematographic scenery, conferring a sense of drama to the movements of the actresses and the readings of the poems.

The fictional encounter in Rio de Janeiro, Brazil (in the 30s) between popular songwriter Lamartine Babo and inconoclast poet and playwright Oswald de Andrade.

We see the film, not the cinema; cinema remains hidden within the film. Cinema is the Phantom of the Opera. A movement and a moment of transition, the Phantom fades away with each opera. It disappears and then reemerges in another, and another, and another, and yet another opera.

No description available.

Bressane's second London film, shot in six days in his apartment. "I had seen the French avant-garde films of the 1920's and naturally the title cites Breton. But underneath it can also be read in many ways. It is a cinema that is invented on the spur of the moment, like you invent an instrument to play music and then abandon it. This film came out like an improvisation, a total risk. It is a deconstruction of meaning but not in the analytical, intellectual sense. I have always tried to lose myself with my films. There is no trace of American or French underground cinema. If anything, it is the idea of home movies, there were many ideas for digital films long before digital film existed. This film made itself, it was like a jazz improvisation. Amor Louco is a lost object, it doesn't speak any language, it has no signs, no letters, no captions. And in the scene where the cataract is cut with the razor blade, it was the adventure of the film itself that was put to the test".

A curious couple, whose existence takes place where art arises along a singular metaphysical desire. They search for it through repeated and varied representations, in a setting of light where hope and desperation blend together.

"They are combinations of fragments. There are no stories, it is possible to mount these fragments in many ways. »Cine-eye or cine-voice-eye. The text of the Galaxies goes straight to the image. »A text rewritten for the eye» (H. de Campos). A short film that is more than experimental and that is based on a dark aesthetic that takes from the work of poet Haroldo de Campos its "dark matter" to combine it with the filmmaker's rarefied images and the puppet-like markings of actresses Bete Coelho and Mariana de Moraes.

The meeting between the young Brazilian author Oswald de Andrade, 18 years old, and the famous American ballerina Isadora Duncan, 40 years old, as she traveled through Brazil.

A delicate and tenacious writer, widowed three years ago, engages in frequent conversations with a parrot. However, she’s always observed by a large portion of raw meat.

Sônia and her homosexual brother are both believed by their mother to be possessed by the devil. She works as a prostitute in the streets of Copacabana and he’s a servant who falls madly in love with his employer.

In Rio de Janeiro, after an altercation with his father and mother, a young man named Bebeto kills his family and goes to a movie theater, where he watches four weird vignettes.

In 1965, a year after the military coup in Brazil, an oasis of freedom opened in the country's capital. The Brasília Film Festival: a landmark of cultural and political resistance. Its story is that of Brazilian cinema itself.