Globo Filmes has set the agenda for major Brazilian cinema during 2022-25 and has hosted 20 new Brazilian films, by far cementing the largest production slate of any company in Brazil.
New titles from the many good and wonderful groups in Brazil from Cinema Novo veteran Zelito Viana to Cao Hambuger shortlisted for the Academy Awards. The production slate features large commercial plays that are obvious to local audiences such as “Tô de Graça, o Filme,” a spin-off from the popular sitcom franchise.
However, the line-up showcases a much greater female author profile than in the past, with new films awaiting from young female authors such as Juliana Rojas and Beatriz Sener and black filmmakers Jefferson Dee, Grace Basso and Sabrina Fidalgo.
The list also has big crossover titles for showing at some of the biggest film festivals around the world, such as Hamburg’s “School Without Gates,” Felipe Braganca’s “Maconema 21” and Zahi Guajara, a contemporary take on Brazil. The neoclassical novel and The Tale of a Certain East, the story of migration set in the early 1950s in Manaus, deep in the Amazon.
New films have already joined Globo Filmes’ announced titles that include several of the most ambitious films currently in production outside of Brazil: Alê Abreu’s “Perlimps”, set for its world premiere in Annecy; “The Business Woman’s Club” from Anna Muylaert’s “The Second Mother’s”, which was revealed at Cannes last year; Sergio Machado’s animated feature “Noah’s Ark” has been nicely sold by CMG; Karim Ainouz and “Destiny Motel” on the occasion of the return of the director of “Invisible Life” to the Brazilian film industry.
“We are trying to have more variety in our film slate. We have some very commercial films, some based on Globo IPs like ‘DPA4’,” Simon Oliveira, president of Globo Filmes as of January 2020, said at Cannes. and some arthouse movies, with both rising talents and famous directors.”
She added that the total investment in the list of 20 photos is $12 million.
Globo Filmes is a Brazilian industry royalty maker.
Co-producing all titles with independent producers in Brazil, he brings not only funding to the table but huge marketing clout for the largest media company in Latin America.
Oliveira noted that Globo Films is able to promote titles not only through live advertisements but also across a wide range of programs from newscasts to magazines, entertainment shows and even the Brazilian version of “Big Brother”.
She added that this exposes art films to a potentially huge audience for free that is still controlled by Globo, the leading television channel of the media giant.
Oliveira said Globo Films is also ramping up its ambitions in other ways.
“We want to make films that are relevant, whether commercial or artistic, and make sure they really make an impact in movie theaters, as well as in other windows,” Oliveira said.
Globo Films also aims to increase international co-productions, and bring overseas production companies on their Brazilian titles. “Additional partners are important so that people know the quality of Brazilian cinema, international co-producers open up new opportunities for a title and allow us to see another film,” Oliveira said enthusiastically.
A quick analysis of the new Globo Films titles:
“Abba” (“Aba ye sua banda,” Humberto Avelar)
An animated adventure feature for kids set in Frahia Produçoes, behind the hits “Vai Que Dá Certo” and “Veronica”.
“Adelaide & Virginia,” (“Adelaide e Virginia,” Jorge Furtado)
Close feature of Furtado (“the man who copied”) based in Porto Alegre, one of the great, wide-ranging, and intellectual critics of class and capitalism. And much more. Produced by Casa de Cinema de Porto Alegre.
“Agora É Que São Elas” (Pedro Antonio)
A comedy on the road with two suburban heroines (Cacau Protásio and Fabiana Karla) who leave their families to pursue their dreams. Directed by Pedro Antonio (“Um TIo Quase Perfeito”) with technical advice from Jorge Furtado.
“Alucinaçao” (Renato Terra)
Written and directed by Terra (“Narciso em férias”, “Uma noite em 67”), a generational vision of the 1970s in Brazil, backed by albums from the 1976 album titled The Movie, From Belchior,
“The Blue Flamingo” (“O Flamingo Solitário,” Beatriz Seigner)
Co-produced by director Thierry Lenoville’s Cinésud in France and shown at MIA in Rome in 2020, it is a drama about an 11-year-old boy who travels to a largely deserted beach town to meet his father for the first time. Seigner’s fiction features the follow-up to the multi-award winning movie “Los Silencios.”
Cancer and the rise of Scorpio (“Cancer com Ascendente em Peixes,” Rosanne Svartmann)
Produced by Rio-based Raccord, Svartman’s latest release (“How To Be Single in Rio,” “A Life Worth Living”), is inspired by the breast cancer blog of Raccord producer Clélia Bessa.
“Carolina” (Jefferson D)
The latest film by black Brazilian film activist Jefferson Dee, whose 2010 film “Broder” debuted as Berlin. Produced by Racor and Maria das Gracas.
“Cydad; Campo” (Juliana Rojas)
The highly anticipated upcoming film from one of the deans of Brazilian cinema genre, co-director of the Locarno-winning film Good Manners. A two-part tale that tells two stories of migration between city and country, with fictional elements, used in a different way than her previous work, she said. diverse. Sarah Silvera produces for Dezenove Som e Imagens. The German company Sutor Kolonko (“Rojo”) shares production with Canal Brasil and Telecine.
Sidad. Campo
Courtesy of Globo Films
“DPA 4,” (“DPA 4 (Detetives de Prédio Azul 4”), Mauro Lima)
Part of the next film in the children’s fantasy adventure franchise of the Globo feature film/film series. From Conspiraçao Films.
“Deaf Love 1500”, (“Amores Surdos 1500,” Grace Passô)
Written and directed by Passó, a playwright, director, and actress, it is a film that offers a scathing family metaphor for Brazil. Produced by EntreFilmes, behind Un Certain Regard winner “The Dead and the Others”, Rachel Daisy Ellis of Desvia Produções, whose credits include the best Latin American artworks such as “Divine Love” and “Rojo”.
“Macunaíma 21,” (Philip Bragança, Zahi Guajara)
One of the major international titles on the Globo list, a contemporary road movie that reimagines the popular novel blending indigenous heritage with the humble suburbs of a big city. Bragança, owner of “Don’t Swallow My Heart, Crocodile Girl!” She played Sundance and Berlin in 2017, with poet and actress Guajara. Produced by Doaa Mariola. French Promenade Films is involved in the production.
“Marilia Pera” (“Viva Marilia,” Zilito Viana)
The latest from indefatigable Cinema Novo producer and director Viana (“Villa-Lobos: A Life of Passion”) and Mapa Films, created by Glauber Rocha, Viana and Walter Lima in 1965.
“Ona Mulheir d’Otro Mundo,” (Cesar Rodriguez)
Next from Rodrigues, the king of Brazilian comedy, both series and films, such as “Vai que cola”, “Minha mãe é uma peça 2” and “Os Roni”. Produced by Formata.
A school without gates (“Escola Sem Muros,” Cao Hamburger)
One of two education-focused hamburger films set in Gullane, its Academy Award shortlist produced “The Year My Parents Went on Vacation.” “School” transforms real-life character Braz Nogueira, who has changed a school – and with it the entire community – in the São Paulo favela in Heliopolis.
“The Tale of a Moin East,” (“Relato de Um Certo Oriente,” Marcelo Gomez)
The next expected of Gomez, whose films played Cannes (“Cinema, Aspirin and Eagles”) and Berlin (“Joaquin”, “Man of the Crowd”). A meeting between a tale of two worlds, set in the early fifties of the last century, depicts Lebanese immigrants settling in the Manaus region of the Amazon region. Mauricio Andrade Ramos (“Central Station”) is produced by Matízar in collaboration with Golan and Ilian Ferreira, Films Muiraquitã, Ernesto Soto and Gomes’ Misti. The Italian film Kavac is co-produced with Brazil Channel.
“This is Pretty much My Life,” (“Isso e Muito Minha Vida,” Vitor Brandt)
Next from Brandt, behind the Netflix companion parody of cop “Cabras da Peste”. Racor produces.
“Three turns”, (Tres Buracos, Caito Ortiz)
Produced by Pródigo Films (“Cioisa Mais Linda”, “Invisible City”) and new major Brazilian production force Ventre Studio, and directed by Ortiz (“O Robo da Taça”).
“time for change,” (Sabrina Fidalgo, Evan Roddick)
Produced by Golan, and co-produced by Globonews, Yvan Rodic Media, and Fidalgo Produçoes, it is a close feature that examines white supremacy, from the point of view of a white European man (Rodic) and a black Brazilian woman (Fidalgo).
“Tô de Graça, o Filme,” (Cesar Rodriguez)
A spin-off of the popular comedy series that spanned five seasons from the Brazilian company Conspiraçao Filmes.
“Two summers and eternity,” (“Dois Verôes e Uma Eternidade, Sandra Cogot)
The next film by distinguished author Cogot, whose film Motom (2007) was played by the two directors’ weekly, while 2019’s Three Summers topped the Havana Film Festival. Golan produces.
The tale of a certain east
Courtesy of Globo Films
[ad_2]
