With tickets at popular prices (R$ 10 full and R$ 5 half-price), tomorrow (10) the Mostra Echoes of 22 – Modernism in Brazilian Cinema, at the Banco do Brasil Cultural Center in Rio de Janeiro (CCBB Rio). The visit will be open to the public until April 11.
It is the largest cinematographic retrospective ever made on the subject, bringing together about 50 films between feature, medium and short films and covering the period from 1922 to 2021, from Roraima, in the North of Brazil, to Paraná, in the South Region. There is also free parallel programming, with lectures, debate tables, musical sessions, subject to the distribution of passwords. There will be broadcast in Pounds. The full program of the show can be accessed here.
Curator Aïcha Barat said that although cinema was not part of the agenda of the 1922 Modern Art Week, the ideals of that avant-garde moment influenced everything that was done in national cinema afterwards. “The Week left a legacy in culture and, consequently, in cinema,” she said. Limit (1931), by Mário Peixoto, considered one of the landmarks of Brazilian avant-garde cinema, opens the event this Thursday, in a free session with musical accompaniment by Tomás Improta, pianist, composer, arranger and teacher.
The so-called Cinema Novo is one of the direct heirs of modernism, said the curator. Famous films of the time will be shown at the show, such as Earth in Trance (Glauber Rocha, 1967), God and the Devil in the Land of the Sun (Glauber Rocha, 1964), Macunaima (Joaquim de Andrade, 1969), How delicious was my French (Nelson Pereira dos Santos, 1971), in addition to films from national cinema that came later: movie thieves (Fernando Coni Campos, 1977), kill them? (Sergio Bianchi, 1983) and Everything is Brazil (Rogério Sganzerla, 1997), for example. “It’s a show that brings the classics, but also tries to bring a more contemporary look to review some issues”, highlighted Aïcha.
intellect
The chosen works are marked by the thinking of São Paulo intellectuals from the Semana de 22, such as Oswald de Andrade and Mário de Andrade, as well as contemporary indigenous thinkers and artists, including Jaider Esbell and Denilson Baniwa.
The exhibition also features a selection of contemporary films that address themes announced by modernist production from indigenous, black and peripheral biases. White goes, black stays (Adirley Queiros, 2012), grin (Isael Maxakali Rolney Freitas and Sueli Maxakali, 2016), Crossing (Safira Moreira, 2017), Where is Makunaima? (Rodrigo Sellos, 2020) and Nũhũ Yãg Mũ Yõg Hám: this land is ours! (Carolina Canguçu, Isael Maxakali, Roberto Romero and Sueli Maxakali, 2020) will be accompanied by a selection of “internet films”, available on social media and on site of the event. “We tried to bring a plurality of perspectives”, commented Aïcha.
Ecos de 1922 also has a selection of “Oswaldian” films by Rogério Sganzerla and Júlio Bressane. Examples are productions Without this one, Spider (Rogério Sganzerla, 1978), Taboo (Julio Bressane, 1982), Miramar (Júlio Bressane, 1997) and Everything is Brazil (Rogério Sganzerla, 1997), in addition to the short black danger (Rogério Sganzerla, 1992), Who would be Isadora Duncan’s happy guest? (Júlio Bressane, 1992) and One night with Oswald (Inácio Zatz and Ricardo Dias, 1992), the latter with a 35mm display.
The exhibition will also feature filmmaker Joaquim Pedro de Andrade, a central figure in the relationship between modernism and Brazilian cinema. In addition to showing the long Macunaima (1969) and The brazilwood man (1980), and the shorts The master of Apipucos (1959) and The Castle Poet (1959), all dedicated to the work and ideas of Mário de Andrade, Oswald de Andrade, Gilberto Freyre and Manuel Bandeira, respectively, the medium-length film will be shown The Aleijadinho (1978).
The visual identity of the show is based on the work colonial fictions (or pretend I’m not here), by indigenous artist Denilson Baniwa. Conceived in 2021, this series of collages can be seen on the pages of the book-catalogue of the show, accompanied by a text by the author. With this work, Baniwa rehearses a right of response to the indigenous imagination forged by white photographers and filmmakers throughout history.
book-catalog
The Ecos book-catalog includes unpublished texts by Ruy Gardnier, Lorraine Mendes, Marília Rothier, Aline Leal, Tainá Cavalieri, Mateus Sanches and Juliano Gomes, in addition to previously published texts by Jaider Esbell, Denilson Baniwa, Paulo Antonio Paranaguá, Pedro Duarte , Julierme Morais, Glauber Rocha and Paulo Emílio Salles Gomes. still bring the Modernist Manifestosby Oswald de Andrade, a text by Mário de Andrade about the movement and a selection of poems, arts and advertisements published in the 1920s modernist magazines Klaxon and Antropofagia.
Aïcha Barat informed that the version online of the catalog is available free of charge to download at the site from Ecos and at bb.com.br/cultura. Spectators who wish to purchase the printed version will be able to exchange four tickets for a catalog during the event. 100 printed copies will be made available.
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