Layout do blog
Latido Films exibe "Maracanã" entre seu line-up para o Marché du Film do Festival de Cannes
The story of a World Cup soccer defeat that stunned a nation has its market premiere at Cannes John Hopewell
MADRID – Preparing for Cannes, and the Brazil FIFA soccer World Cup, Latido Films has taken international sales rights to “Maracanazo: The Football Legend,” the human story behind still one of the biggest sporting upsets in history: the 1950 Brazil vs. Uruguay soccer World Cup final. Directed by Sebastian Bednarik and Andres Varela, and mixing vigorosly-edited footage, and voice-over commentary with surviving team members, historians and journalists, and a building match by match chronicle, “Maracanazo” narrates a defining moment Brazilian history.
On July 16, 1950, Uruguay, a team stitched together before the match – it started preparing the World Cup with no trainer, nor money, nor public support – beat Brazil, the World Cup host country, by 2-1 in the final match, played in Brazil’s new Maracana Stadium in Rio de Janeiro, which could house 125,000 people. A gleaming symbol of modernity, Maracana and a World Cup win was intended to confirm Brazil’s status as a world power, said sports writer Carlos Da Silva. But Brazil lost before a 210,000 estimated crowd – the biggest to this day for a soccer match – , after taking the lead, and scoring 13 goals in their prior two matches. The psychological consequences of defeat roiled for decades.
The Maracana defeat that coined the term “Maracanazo” (literally: the Maracana blow) rears its head as this year Brazil enters the 2o14 Word Cup soccer final as one of its favorites, aiming to reach a final which, in a hoped-for act of collective exorcism, will once more be played again in Maracana. Produced by Andres Varela at Montevideo’s Coral Cine, and recuperating pristine restored and original footage, “Maracanazo” is a story of underdogs, and how Brazil underestimated the Uruguay team and one of the most extraordinary captains in soccer history, the now pretty much forgotten Obdulio Varela, who also lead Penarol in Montevideo, a city of just two millions, to become – arguably – the best Latin American club side in the 20th century.
Commanding and charismatic – he delivered a pre-match pep-talk which ended with the famous phrase “Boys, outsiders don’t count. Let the show begins” – having before the World Cup co-lead players’ union action against soccer clubs, demanding basic rights for players, Varela also lead his national team to victory. “The only ones who believed in us were ourselves,” Uruguayan player Julio Perez remembers in “Maracanazo” more than 60 years later.
Uruguay’s team believed “even more, having a strong captain like Obdulio Varela. If you said to Obdulio Varela you were going to lose, he’d probably have choked you to death, Perez added.
Backed by Ibermedia, “Maracana”is also produced by Uruguay’s Tenfield and Arissas Miltimedia, a Rio de Janeiro-based production house, behind 2010’s Directors’ Fortnight entry, “The Joy.”
Filha de Mano Brown, Domenica Dias grava filme sobre aborto: 'culpa e medo'
"Las Vacaciones de Hilda", de Agustín Banchero, ganó el Premio ACCU Mejor Película, Mejor Dirección, Mejor Ópera Prima, Mejor Actriz y Mejor Montaje para el primer largometraje del director uruguayo
‘Las vacaciones de Hilda', o la mecánica del tiempo de Agustín Banchero Potentísima ópera prima.
"Las vacaciones de Hilda", la película uruguaya que competirá en San Sebastian Es la opera prima de Agustín Banchero y se verá en la sección New Directions de la muestra de cine; aún falta conocer la grilla de Horizontes latinos, donde puede haber más uruguayos. 02/08/2021
Ao sair de cena há cinco anos, o compositor, pianista, arranjador e produtor musical fluminense Lincoln Olivetti (17 de abril de 1954 – 13 de janeiro de 2015) começou a ter reavaliada a relevante contribuição que deu à música brasileira. Um dos pioneiros no uso (e abuso) dos sintetizadores, esse mestre dos teclados foi nome fundamental na arquitetura da sonoridade tecnopop construída na MPB a partir dos anos 1980. Se por vezes pasteurizou a música brasileira com padronizados arranjos eletrônicos, Lincoln também criou pura magia pop ao atuar como músico e sobretudo arranjador em discos de Elba Ramalho, Gal Costa, Gilberto Gil, Jorge Ben Jor, Lulu Santos, Rita Lee, Roberto Carlos, Sandra de Sá, Tim Maia (1942 – 1998) e Xuxa, entre muitos outros nomes em atividade nas décadas de 1980 e 1990. Exemplos da maestria do maestro, mago dos estúdios, os arranjos feitos por Lincoln Olivetti para as gravações originais das músicas Lança perfume (Rita Lee e Roberto de Carvalho, 1980), Festa do interior (Moraes Moreira e Abel Silva, 1981) e Banho de cheiro (Carlos Fernando, 1983) já justificam a celebração do artista no álbum Lincoln Olivetti – O mago do pop. Programado para chegar ao mercado fonográfico a partir de quarta-feira, 10 de junho, o disco Lincoln Olivetti – O mago do pop reúne onze gravações feitas para a homônima série de TV que, sob direção de Omar Marzagão e Úrsula Corona, documentou e avaliou o legado de Olivetti na discografia nacional. Produzidas na cidade do Rio de Janeiro (RJ) no estúdio da Biscoito Fino, gravadora que edita o disco Lincoln Olivetti – O mago do pop, as gravações foram feitas por elenco que inclui Fagner, Moraes Moreira (1947 – 2020), Davi Moraes, Sandra de Sá, Marcos Valle, Leila Pinheiro, Rogê, Gabriel Moura e Michael Sullivan. Intérprete de três das 11 músicas do álbum O mago do pop, Sullivan dá voz ao primeiro e único grande sucesso de Lincoln Olivetti como compositor, Amor perfeito, balada lançada em 1986 na voz de Roberto Carlos. A canção foi assinada por Lincoln com Sullivan, Paulo Massadas e Robson Jorge (1954 – 1993), guitarrista e tecladista com quem o artista gravou e lançou em 1982 o álbum Robson Jorge & Lincoln Olivetti, cultuado título da discografia de black music feita à moda pop do Brasil. No tributo Lincoln Olivetti – O mago do pop, a balada Amor perfeito também é ouvida na voz da cantora Marina Elali. Já Moraes Moreira e o filho Davi Moraes recriaram Festa do interior, marcha-frevo junina cujo arranjo da gravação original de Gal Costa se tornou referência da habilidade de Lincoln Olivetti para criar magia pop dentro de um estúdio de gravação. https://g1.globo.com/pop-arte/musica/blog/mauro-ferreira/post/2020/06/09/maestria-de-lincoln-olivetti-e-revivida-no-album-o-mago-do-pop.ghtml
Leading Miami-based international sales and distribution company FiGa Films has picked up worldwide sales rights to Agustin Banchero’s drama, “Las Vacaciones de Hilda” (“Hilda’s Short Summer”). “The film was part of this year’s San Sebastian Int’l Film Festival’s [work in progress section] Cine en Construcción and blew us away,” said FiGa Films’ Sandro Fiorin, adding: “It is the most mature first feature I’ve seen in years.” Produced by Virginia Bogliolo and Juan Alvarez Neme of auteur-driven Uruguayan shingle, Tarkiofilm, “Hilda” centers on the titular character whose self-imposed solitary life is upended when she hears that her son, whom she hasn’t seen in years, is coming to visit. The abrupt cancellation of his visit triggers memories of a past summer. “Her memories of a particular summer spark an emotional pivot for the character,” said Banchero whose inspiration for his film primarily stemmed from his need to understand people close to him. Through its five years of development, it evolved into a nuanced exploration of memory, on understanding how the past affects the present. “It became more of a philosophical search,” he said. As it had to be shot in the winter and summer, he filmed it in two parts with a year’s break in between. “That break was fortuitous as it allowed me to reflect on what I had filmed and see it from a fresh perspective,” he mused. Born in the Uruguayan capital of Montevideo 32 years ago, Banchero earned a filmmaking degree from the Film School of Uruguay after which he directed a series of short films, including “De Las Casas Blancas,” which screened at the LLAF in London and the World Cinema Fest in Amsterdam, among others. Other shorts followed, led by “Las Perdidas,” which played the Malba Festival in Buenos Aires. Banchero is also a visual artist. His work has been recognized on several occasions, including the Grand Prix of the Visual Arts Salon in 2012. Bogliolo, as well as Brazil’s Clarissa Guarilha and Clarissa Pileta Moraes, serve as executive producers. Founded in 2006 by Fiorin and his late partner Alex Garcia, FiGa Films was initially launched to select the best of Latin America’s “new” cinema. It has since expanded to include projects from North America, Europe and Africa and has a library of nearly 100 titles. FiGa Films is handling the sales of Costa Rica’s submission to the Best International Feature Oscar, Antonella Sudasassi’s “The Awakening of the Ants,” which has just been acquired by HBO in the U.S. https://variety.com/2019/film/news/figa-films-snatches-agustin-banchero-debut-feature-las-vacaciones-de-hilda-1203419661/?fbclid=IwAR1shrfbZjcuVMHIUT_LZ58nclCElnxCJn8QVq9CxXKc9Conpr6vHj_WCXc
Rio de Janeiro
+55 21 99938.0314 | +55 21 99955.3063
