ponedjeljak, 7. travnja 2014.

Ozualdo Ribeiro Candeias - Filme A Margem (1967)

Pionir brazilskog Cinema Marginal.


Filme A Margem (1967)

Truck-driver turned director Candeias fled the commercial filmmaking scene to be able to tell this neo-realistic story of São Paulo’s underprivileged citizens living near the Tietê river.
Candeias’ contemplative fiction taken from real situations narrates brief moments in the lives of four characters inhabiting the banks of São Paulo’s Tietê river. The film’s point of departure is a woman who floats along in a canoe; as we follow her, we see the problems of survival in this community. The Margin is about two couples: on the one hand, a black woman - a prostitute - who has an affair with an unemployed white man who wears a suit; and on the other, an obsessive guy chasing after a blond girl. The Tietê isn’t always the setting for the film, but its characters are always more or less 'in the margins' - uprooted from their environments, disoriented, oppressed by the fast-changing city.
Finding images that are disarming in their metaphoric simplicity, Candeias opened the possibilities for thoughtful production in the highly commercial environment of the Boca do Lixo.

 ZéZero (Ozualdo Candeias, 1974)

 Meu nome é... Tonho (Ozualdo Candeias, 1969)



A visita do velho senhor (1976)



zualdo Ribeiro Candeias (Cajobi, November 5, 1918 – Sao Paulo, February 8, 2007) was a Brazilian filmmaker, a pioneer of the Brazilian marginal cinema.
From humble origins, Ozualdo was a soldier and truck driver before starting his film career in 1955 with the short film Tambau-Cidade dos Milagres, which already had elements common to his work like irony and provocation.
His masterpiece was A Margem, 1967, which paved the way for the movement of the marginal cinema, with the names like Ozualdo, João Silvério Trevisan, Júlio Bressane and Rogério Sganzerla, Andrea Tonacci, among others. In 1968, he produced the film Zé do Caixão: O Acordo, a segment of José Mojica Marins’ Trilogia de Terror. Still with Mojica, he co-directed Ritual dos Sádicos, produced in 1969 but only released in 1982 by the Censorship. His last film was O Vigilante (1992).
Averse to interviews, the filmmaker’s last appearance was in the video-documentary Ozualdo Candeias: vida e obra marginal (2006), produced by three students of Journalism at PUC Campinas. Ozualdo died on the afternoon of February 8, 2007, at 88 years-old, two months after his last interview.- mubi.com/

Ozualdo Ribeiro CANDEIAS (1922-2007) worked as a chauffeur, a truck driver and at other odd jobs until, in the early 1950s, he purchased a 16mm camera and began to school himself in film production. He emerged with a first docu-short, Tambaú, a cidade dos Milagres (1955), while frequenting The São Paulo Art Museum Seminar on Cinema. Shortly afterwards, he worked as a technical assistant and freelance director of institutional films and newsreels.
In 1967, he made a low-budget feature, The Margin, largely by himself, challenging the known paradigms of Brazilian film production. The equally experimental and unique My Name Is Tonho (1969) and The Inheritance (1970) followed. Increasingly unable to finance such projects himself, Candeias turned to production jobs and acting in order to stay afloat. In 1981, he returned to feature filmmaking with The Option, garnering a Bronze Leopard in Locarno. A prolific photographer, he also amply documented the Boca do Lixo neighborhood of São Paulo where he lived.- www.filmfestivalrotterdam.com/

A MARGEM Ficção, 1967, 35 mm, P&B, 96 min

MEU NOME É TONHO Ficção, 1969, 35 mm, P&B, 95 min

A HERANÇA Ficção, 1971, 35 mm, P&B, 90 min

ZÉZERO Ficção, 1974, 35 mm, P&B, 31 min

CAÇADA SANGRENTA Ficção, 1974, 35 mm, Cor, 90 min

O CANDINHO Ficção, 1976, 35 mm, P&B, 33 min

AOPÇÃO ou AS ROSAS DA ESTRADA Ficção, 1981, 35 mm, P&B, 87 min

MANELÃO, O CAÇADOR DE ORELHAS Ficção, 1982, 35 mm, Cor, 81 min

MANELÃO, O CAÇADOR DE ORELHAS Ficção, 1982, 35 mm, Cor, 81 min

AS BELLAS DA BILLINGS Ficção, 1987, 35 mm, Cor, 90 min

O VIGILANTE Ficção, 1992, 35 mm, Cor, 77 min

Nema komentara:

Objavi komentar