Traditional Culture Encyclopedia - Photography major - Recommend some Brazilian movies.
Recommend some Brazilian movies.
Recommend a Brazilian director to you. Find their films yourself.
/ Mario Peixoto (191-1992)- The genius of the silent film era
Mario Peixoto is the most talented filmmaker in Brazil's silent film era. He only made one film in his life, namely "Boundaries". It is a surreal work with experimental film language, which tells the story of two men and one woman drifting in a lifeboat to survive. Pisoto vividly shows the contradiction and struggle between the dramatic plot and the characters' inner thoughts with exquisite photography, editing and montage. It is hard to imagine that Pisoto was only twenty-one years old at that time. After the film was finished, movie master Sergei Eisenstein of the Soviet Union was amazed after watching it, and called it a model of "pure film language". However, it was such a unique film that was buried underground for half a century, and it was not until the end of the 197s that it was rediscovered and restored. In 1984, as the opening film of the Berlin Film Festival, it shocked the world. In 1988 and 1996, Boundaries was twice rated as the best Brazilian film of the century by the Brazilian Film Association and the Film Critics Association. In 2, Walter salles, the director, found the original manuscript of the script "Boundaries" in Rio de Janeiro and decided to make a documentary about Pisoto, which was later produced by him and directed by Sergio Machado (21).
2/ Humberto moreau (1897-1983)- The Father of Brazilian Film
It is not excessive to call Humberto moreau the "Father of Brazilian Film", because since the first short film "Volcano de Valada" was filmed in 1926, Moreau's films have shown a completely different style from other directors of his time. His films pay attention to photography and composition, and pay attention to reflecting people's ordinary life with poetic images, which is somewhat similar to the style of French poetic realism at the same time. In his films, we can not only see the beautiful scenery and traditional national customs of Brazil, but also feel a strong force on the characters in the play, which is a struggle against life and nature. His Song of Soda (1952) and Ganga Broutta (1933) are all important works with far-reaching influence in the history of Brazilian film. At the same time, he is not only a drama director, a screenwriter, a photographer and an actor, but also an excellent documentary director. He has created nearly 2 documentary films in his life, many of which have become important images for studying the history and folk customs of Brazil in various periods.
3/ Nelson Pereira dos dos Santos (1928- )- The earliest practitioner of the new wave
N.P. dos Santos is a director who has made great contributions to Brazilian films, and he is also the earliest practitioner of the new wave movement. As early as 1955, the neo-realistic "Forty Degrees in Rio" had already influenced many young filmmakers. Dos Santos is a self-taught film director. In his youth, he studied law and worked as a journalist. He was keen on participating in various political and cultural activities, and liked movies and Brazilian literature. He entered the film industry in the early 195s, and gained a lot of practical experience in film production during his first few years as an assistant director. Later, he made his first film "Forty Degrees in Rio" independently in 1955, and "The Barren Land" in 1963 described a poor Brazilian family, society and nature. In the early 197s, he gradually gave up his simple realistic style and turned to a more artistic allegorical film creation. For example, his most famous work outside Brazil, My Little Frenchman is Delicious (1971), which combines surrealism and mysterious religious ceremonies, satirizes the erosion of ancient Brazilian civilization by European colonialism in an absurd black comedy style, and is called the first "exploitation film" in Brazil.
4/ Joaquim Pedro de Andrade (1932-1988)- the theoretical father of the new wave
Dos Santos was the first person to practice the new wave in Brazil, but it was the handsome Mr. andrade who first put forward the concept of the new wave, so he was the theoretical "father of the new wave in Brazil". As early as 196, when filming a documentary, andrade put forward the idea that young filmmakers should aim at ordinary people to show their lives, and then put his creative idea into practice in 1964' s Pastor and Girl, which won the nomination for best film at the Berlin Film Festival. In the first few years of the new wave, he kept a low profile in obscurity, but supported the creation and film promotion of many of his friends, such as glauber Ricardo Roberto Barreto da Rocha, David Neves and Leon Hirszman, until 1969. Macunaima, a film that combines mysterious religious culture and grotesque surrealism, made him famous at one fell swoop. This crazy film was adapted from the novel of the same name by Mario andrade, andrade's father. It has a high degree of originality and imagination, and has become another masterpiece in the new wave era, and was selected as the book "Movies as Subversive Art". Andrade is not only an original author and film director (all his films are scripted and produced by himself), but also an excellent documentary director. His "New Wave" (1967) recorded the behind-the-scenes scenes scenes of his friend glauber Ricardo Roberto Barreto da Rocha filming "The Painful Land" with black and white film, which fully showed the unique shooting method of the new wave film and became a documentary classic.
5/ glauber Ricardo Roberto Barreto da Rocha (1939-1981)- A Wonder of the New Wave that Never Fades
glauber Ricardo Roberto Barreto da Rocha is undoubtedly the leader of the New Wave Movement in Brazil and one of my personal favorite Brazilian directors. Many knowledgeable people think of Ricardo Roberto Barreto da Rocha at first when they talk about the new wave in Brazil. His films combine ancient Brazilian folklore, fables, religious ceremonies and political elements, and are bold and innovative in film language, which is undoubtedly the most unique flower in the new wave. Like his predecessor Dos Santos, glauber Ricardo Roberto Barreto da Rocha didn't specialize in film. He used to be a lawyer in his early years, but soon he abandoned the law and joined a small group to be a film critic and began to make films independently. After the military coup in Brazil in 1964, he briefly left the motherland, but returned a few months ago to help Brazil rebuild its democratic political system and make films. His most famous works are God and the Devil in empire of the sun (1964), The Painful Land (1967) and The Unforgettable Antonio (1969). These three films are regarded as Ricardo Roberto Barreto da Rocha's film trilogy by later generations, and their combination of mysticism, folk mythology and radical political opinions makes them highly praised in the international film world. In 1981, glauber Ricardo Roberto Barreto da Rocha died of severe pneumonia in a small hospital in Rio de Janeiro at the age of 42.
6/ Arnaldo Jabor (194- )- The most popular new wave film director
Arnaldo Jabor is also the main figure of the new wave movement. His 1967 black-and-white documentary "The View of Gong * * *" is one of the best documentary films in the new wave. At the same time, Naked Being Punished in 1973 became an important work in the post-new wave period. The film won the Golden Bear Award at the Berlin Film Festival that year, and then Marriage (1976), I Love You (1981) and Love Me Forever or Never Love Me (1986) won numerous international awards. Different from Ricardo Roberto Barreto da Rocha and andrade, Garber's works don't focus on politics and religion. He is good at describing the fickle emotional games of the hero and heroine and the complex human nature reflected from them, and shows the subtle relationship between people in the form of tragicomedy, which makes his films much more popular in Brazil than other films directed by the new wave. Naked Being Punished is still one of the most watched Brazilian films and is regarded as one of the films that best reflect the unique character of Brazilians. Besides movies, Arnaldo Jabor is a respected journalist.
7/ rui Gurrera (1931- )- An academic practitioner of the new wave
rui Gurrera, a Brazilian director, was another early practitioner of the new wave. He was born in Mozambique, which was still a Portuguese colony at that time, and later became a Brazilian citizen. Gurrera was interested in movies since he was a child. When he was young, he published many plays, essays and film reviews, and shot short films with 8mm film. At the age of 19, he joined a left-wing radical organization and participated in anti-racism and independence movements. In 1951, Gurrera left Mozambique to study film in Paris, where he worked as an assistant photographer for several years. He was also a rare academic director in the new wave of Brazil. In 1962, The Immoral Man was filmed in Brazil, which became one of the few films that achieved mainstream commercial success by independent production at that time. However, it was controversial in Brazil because of many graphic violent images. In 1964, Rifle became another important work of the new wave. This shocking film about family members killing each other because of poverty and lack of food not only won the Silver Bear Award for the best director at the Berlin Film Festival, but was also considered by many as one of the best films in Brazil in the 196s. In the 198s, Gurrera changed his style and began to try to create works combining surrealism and mysticism. Two films adapted from the magical realist writer Marquez, Ellen Tina (1983) and Fable of the Beautiful Pigeonkeeper (1988), are the representatives of this style. Rui Gurrera is also an excellent editor, photographer, producer and even actor. He once performed brilliantly in the famous work Aguirre, The Wrath of God (1972) by German director Jose. In the late 197s, when Mozambique gained independence from colonial rule, he briefly returned to the motherland to help establish a film association, where he completed the documentary Moda, Memory and Holocaust (198), the first film in Mozambique's history.
8/ Luis Sergio Person (1936-1976)- A short-lived but far-reaching filmmaker
In the history of Brazilian film for more than 1 years, Luis Sergio Parson was as short-lived as a comet, but the films he left behind were far from disappearing like himself, but became. Parsons is an all-round creator who spans both film and drama. He is a director, producer, screenwriter and actor. He has only made five feature films in his life, the most famous of which is Sao Paulo S/A in 1965, which shows the collision between the industrialization process of Brazil in the 196s and the life concept of the newly rising middle class from the wonderful experience of an ordinary person. This film is not only of profound practical significance, but also excellent in photography. Two years later, the case of the Navis brothers was the bravest protest against the military dictatorship in Brazil at that time. At the same time, in order to expand the local film market, Parsons successively established the independent filmmakers League of Brazil (IRP) and the Augusta Theatre in S? o Paulo, seeking the mode of active cooperation in film. These organizations have become the centers of film creation in S? o Paulo and even the whole of Brazil in the future. In 1976, Parsons died in a car accident. In essence, although Parsons does not belong to the new wave, he has made great contributions to Brazilian films with his short life.
9/ Carlos Diegues (194-)- Brazilian director who combines art and business
Carlos Diegues is also an important member of the new wave in Brazil, but his fame may not be as good as that of Ricardo Roberto Barreto da Rocha and others, because his most famous work Goodbye to Brazil was shot in the late 197s, and he didn't become famous internationally until the 198s. Therefore, many people classify him as a post-new wave period or a new wave at all. However, before Goodbye to Brazil, he had directed many excellent films such as Heir (197), When the Carnival Comes (1972), Sika (1976) and Summer Shower (1978). These works were praised by critics in Brazil. Carlos Diegues was also a law student in his early years. At first, he was interested in social reform and college politics. Later, he became fascinated with writing film reviews and poems. In 196, he began to shoot short films. Four years later, Ganga Zumba》(1964), a long film debut criticizing the atrocities of colonial slave trading, won a small success and pushed him to the forefront of the new film movement. Subsequent films were also very successful and won many awards in Brazil. In 1979, Goodbye to Brazil became his first work to gain international reputation, and won an award at Cannes Film Festival that year. It was called one of the films that best showed the national customs of Brazil in the 197s, and the subsequent Quilombo (DVD was released in China in 1984) was nominated for the best film at Cannes Film Festival again, which was also one of his representative works. Later, Carlos Diegues made films such as Starlight Subway (1987), Better Life Ahead (1989), Love Song of Rio (1994) and Trenta (1996), which were both successful in art and business. He was also one of the few Brazilian directors who could combine art and business perfectly.
1/ Walter Salles (1956- )- the founder of the new Brazilian film in the 199s
Needless to say, there are too many introductions on the Internet. Walter salles is one of the most famous directors in the Brazilian film industry at present, and he has made great contributions to the rebirth of new Brazilian films in the 199s. Although Camurati's Princess of Brazil broke the dreary situation of Brazilian films, without the great success of Cyrus's Grand Central Station (1998), Brazilian films could not have developed so smoothly in the following years, and it was impossible for the following films such as City of God and Carandru to be world-renowned. It can be said that Grand Central Station laid the foundation for the development of new Brazilian films, and of course it is also a representative of new films.
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