Brasil ao cubo nas telas do Festival de Veneza

Brasil ao cubo nas telas do Festival de Veneza

Rodrigo Fonseca

25 de julho de 2018 | 10h03

“Deslembro”, doc de Flávia Castro, vai pra mostra Horizontes

Rodrigo Fonseca
Há três filmes brasileiros já escalados para o 75º Festival de Veneza (vai de 29 de agosto a 8 de setembro), que divulgou ontem sua seleção: entraram Deslembro, de Flávia Castro, na mostra competitiva Horizontes; Domingo, de Clara Linhart e Fellipe Barbosa, na mostra Venice Days; e Humberto Mauro, de André di Mauro, na seção Venice Classics Documentary, falando do pioneiro da brasilidade em nossas telas. Nenhum está na briga pelo Leão de Ouro, cujo júri será presidido pelo oscarizado cineasta mexicano Guillermo Del Toro (A Forma da Água). Mas a briga pelo felino será pesada. O esperado Roma, de Alfonso Cuarón (diretor de Gravidade, também egresso do México, como Del Toro); o épico Peterloo, do inglês Mike Leigh; a comédia Doubles Vies, do francês Olivier Assayas, e o thriller de horror Suspiria, que o italiano Luca Guadagnino dirigiu como um remake do cult homônimo de Dario Argento, vão estar no páreo. Originalmente idealizado como série da Netflix, The Ballad of Buster Scruggs, dos irmãos Coen, vai para Veneza em forma de longa. O Primeiro Homem, de Damien Chazelle, será o longa-metragem de abertura da maratona cinéfila do Lido, em competição.

As atrações de Veneza:

Competition
“The Mountain,” Rick Alverson
“Doubles Vies,” Olivier Assayas
“The Sisters Brothers,” Jacques Audiard
“The Ballad of Buster Scruggs,” Joel e Ethan Coen
“Vox Lux,” Brady Corbet
“Roma”, Alfonso Cuaron
“22 July,” Paul Greengrass
“Suspiria,” Luca Guadagnino
“Werk Ohne Autor,” Florian Henckel von Donnersmark
“The Nightingale,” Jennifer Kent
“The Favourite,” Yorgos Lanthimos
“Peterloo,” Mike Leigh
“Capri-Revolution,” Mario Martone
“What You Gonna Do When the World’s on Fire?” Roberto Minervini
“Sunset,” Laszlo Nemes
“Freres Ennemis,” David Oelhoffen
“Nuestro Tiempo,” Carlos Reygadas
“At Eternity’s Gate,” Julian Schnabel
“Acusada,” Gonzalo Tobal
“Killing,” Shinya Tsukamoto

Out-of-Competition Fiction
“Una Storia Senza Nome,” Roberto Ando
“Les Estivants,” Valeria Bruni Tedeschi
“A Star Is Born,” Bradley Cooper
“Mi Obra Maestra,” Gaston Duprat
“A Tramway in Jerusalem,” Amos Gitai
“Un Pueple et son Roi,” Pierre Schoeller
“La Quietud,” Pablo Trapero
“Shadow,” Zhang Yimou
“Dragged Across Concrete,” S. Craig Zahler

Out-of-Competition Documentaries
“A Letter to a Friend in Gaza,” Amos Gitai
“Aquarela,” Victor Kossakovsky
“El Pepe, Una Vida Suprema,” Emir Kusturica
“Process,” Sergei Loznitsa
“Carmine Street Guitars,” Ron Mann
“Isis, Tomorrow, The Lost Souls of Mosul,” Francesca Mannocchi, Alessio Romenzi
“American Dharma,” Errol Morris
“Introduzione All’Oscuro,” Gaston Solnicki
“1938 Diversi,” Giorgio Treves
“Your Face,” Tsai Ming-Liang”
“Monrovia, Indiana,” Frederick Wiseman

Out-of-Competition
“L’Amica Geniale,” Saverio Costanza
“Il Diario Di Angela – Noi Due Cineasti,” Yervant Gianikian

Horizons (Competition)
“Sulla Mia Pelle,” Alessio Cremonini (opening film)
“Manta Ray,” Phuttiphong Aroonpheng
“Soni,” Ivan Ayr
“The River,” Emir Baigazin
“La Noche De 12 Anos,” Alvaro Brechner
“Deslembro,” Flavia Castro
“The Announcement,” Mahmut Fazil Coskun
“Un Giorno All’Improvviso,” Ciro D’Emilio
“Charlie Says,” Mary Harron
“Amanda,” Mikhael Hers
“The Day I Lost My Shadow,” Soudade Kaadan
“L’Enkas,” Sarah Marx
“The Man Who Surprised Everyone,” Natasha Merkulova, Aleksey Chupov
“Memories of My Body,” Garin Nugroho
“As I Lay Dying,” Mostafa Sayyari
“La Profezia Dell’Armadillo,” Emanuele Scaringi
“Stripped,” Yaron Shani
“Jinpa,” Pema Tseden
“Tel Aviv on Fire,” Sameh Zoabi

Special Documentary Screenings
“The Other Side of the Wind,” Orson Welles
“They’ll Love Me When I’m Dead,” Morgan Neville

Biennale College
“Deva,” Petra Szocs
“Yuva,” Emre Yeksan
“Zen Sul Ghiaccio Sottile,” Margherita Ferri

Sconfini
“The Tree Of Life (Extended Cut),” Terrence Malick
“Arrivederci Saigon,” Wilma Labate
“Il Ragazzo Piu Felice Del Mondon,” Gipi
“Il Banchiere Anarchio,” Giulio Base
“Blood Kin,” Ramin Bahrani
“Magic Lantern,” Amir Naderi
“L’Heure De La Sortie,” Sebastien Marnier
“Camorra,” Francesco Patierno

Venice Classics Documentary 
“The Great Butler,” Peter Bogdanovich
“Women Making Films: A New Road Movie Through Cinema,” Mark Cousins
“Humberto Maurio,” Andre de Mauro
“Living the Light,” Claire Pijman
“24/25 Il Fotograma in Pio,” Giancarlo Rolandi, Federico Pontiggia
“Nice Girls Don’t Stay for Breakfast,” Bruce Weber
“Friedkin Uncut,” Francesco Zippel

Venice Classics Restored Films
“They Live,” John Carpenter
“The Night Porter,” Liliana Canani
“The Naked City,” Jules Dassin
“Brick and Mirror,” Ebrahim Golestan
“Street of Shame,” Kenji Mizoguchi
“Il Posto,” Ermanno Olmi
“Last Year at Marienbad,” Alain Resnais
“The Place Without Limits,” Arturo Ripstein
“Adieu Philippne,” Jacques Rozier
“The Ascent,” Larisa Sheptiko
“The Killers,” Don Siegel
“The Killers,” Robert Siodmak
“The Night of the Shooting Stars,” Paolo e Vittorio Taviani
“Love, Thy Name Be Sorrow Aka the Mad,” Tomu Uchida
“Death in Venice,” Luchino Visconti
“The Golem,” Paul Wegener
“Nothing Scared,” William A. Wellman
“Some Like It Hot,” Billy Wilder