Adélia Sampaio
Production
Biography
Adélia Sampaio is a Brazilian filmmaker, the first black woman to direct a film in Brazil, the 1984 feature Amor Maldito. Sampaio was born in 1944 in Belo Horizonte; her mother was a domestic worker. Sampaio's interest in film was encouraged by her sister Eliana, after watching Sergei Eisenstein's Ivan the Terrible (Eliana later became her producer). In 1969 went to work as a telephone operator at Difilm, a Brazilian distributor linked to Cinema Novo. Sampaio began to organize the company's film club, which projected films in 16mm. She also started to work in the production of films, in various functions, such as continuist, makeup artist, camera operator, editor and producer. Her debut as a director was in 1979, with the short film Denúncia Vazia. In 1984 she released her first feature, Amor Maldito, based on the real-life case of a trial of a lesbian woman accused of killing her partner, of which she was also a screenwriter (with José Louzeiro) and producer. Thus, she became the first black woman to direct a feature film in Brazil. In 1987 she directed the documentary Fugindo do Passado: Um Drink para Tetéia e História Banal, about the Brazilian military dictatorship. In 2018 she directed O mundo de dentro, shown at the São Paulo International Short Film Festival.
Known For
An elderly couple decides to commit suicide after receive a eviction order. The first short-film of Adélia Sampaio, the first black woman in Brazil to direct a feature film.
Denúncia Vazia
Documentary about a political episode during the Brazilian military dictatorship, which resulted in the issue of the Institutional Act #5 (AI-5), abolishing freedom of opinion in Brazil, and marking the transition to the toughest period of violation of human rights in the country. The episode was the Congress Assembly on December 12th, 1968, in which its members denied permission to punish congressman Márcio Moreira Alves, as was the Government's wish.
AI-5 - O Dia que Não Existiu
Eugênio falls in love for Margarida, a poor girl who lives in his parents' farm. In order to avoid their love affair, the parents send him to a Catholic Seminary to be a priest. Just before his ordination, he meets Margarida again, and their old feelings for each other are triggered once more.
O Seminarista
A poor man from the North Zone of Rio, head of a family, Roy struggles in every way to survive and accepts a job as a professional laugher on a TV station; Casimiro de Abreu de Sousa lives in a fantasy world in which he imagines himself to be part of high society. His daughter's wedding awakens in Casimiro the desire to achieve everything he has always fantasized about.
O Ibraim do Subúrbio
Rio de Janeiro crooks rove about, performing petty tricks to survive, and get involved with a woman who steals cars.
Parceiros da Aventura
No description available.
Na poeira das ruas
Friends Severina and Maria José struggle to survive in a suburb of Rio de Janeiro. The first is a widow who sells flowers and the second has a lover who does little to help with expenses. Their children sell peanuts during the day. One day, the children get lost and are found again at Jaks' house, who offers to sell Severina certain suspicious merchandise, disguised among the roses.
O Segredo da Rosa
No description available.
Olhar dos anos 60
No description available.
A Cartomante
Two young women with different social backgrounds have a lesbian relationship. The real problems begin when one of them also gets involved with a man, a journalist.
Cursed Love
The tradition of working out Judas in a suburb. The doll is placed on the street like a corpse and a bunch of children are faced with the consequences of this innovation.
Adulto Não Brinca
No description available.
Fugindo do Passado
No description available.
O Monstro de Santa Tereza
No description available.
Ele, Ela, Quem?
No description available.
... AGORA UM DEUS DANÇA EM MIM
Scliar, a painter of the world, immersed in the time of his silence. All that the artist sought to bring to the skin and heart of his painting is the inner vibration of every inhabitant of the world. The chromatic vibration does not come from the paints but from the land he harvests from each place he visits. Scliar used earth to give colour to his canvases.
Scliar: A Persistência da Paisagem
"O Mundo de Dentro" addresses the generation of the 1960s, especially the shock caused by the AIDS cases that started to appear in the post-dictatorship period in Brazil.