Carlos Adriano is a film artist and independent scholar, with a PhD in Film (USP - University of São Paulo; Fapesp’s Fellowship [São Paulo Research Foundation]; 2008) and two Post-Doctorals, in Arts (PUC-SP - Pontifical Catholic University São Paulo; Fapesp’s Fellowship; 2014) and in Film (USP; Capes’s Fellowisp [Coordination for the Improvement of Higher Education Personnel]; 2017). His work is the subject of a chapter of the book “The Sublimity of Document: cinema as diorama (avant-doc 2)” by Scott MacDonald (Oxford University Press, 2019). Retrospectives: Festival do Rio (2002); 56th Festival of Locarno (2003); Instituto Tomie Ohtake (films installed in projections, displays, loops; 2019). Films exhibited in the Museum of Modern Art (MoMA, New York) and in the Tate Modern (London), and shown at festivals in Bilbao, Bologna, Denver, Havana, Locarno, Madrid, Osnabrück, Paris, Philadelphia, Pordenone, Rotterdam, Toronto. His “sem título # 5 : A Rotina terá seu Enquanto” (2019) was awarded Best Short (24th It’s All True; São Paulo); his “sem título # 1 : Dance of Leitfossil” (2014) was awarded Best Film (Golden Reel International Underground Film Festival; Ulaanbaatar); his “A Voz e o Vazio: a Vez de Vassourinha” (1998) was awarded Best Documentary Short (36th Chicago Film Festival). Born in São Paulo, Brazil, 1966.
A list of Brazilian Films Around
This is not a list of films that influenced the style or the making of my film Vassourinha: The Voice and The Void.
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In 1974, Sérgio Ricardo’s A Noite do Espantalho, shot entirely in the Brazilian state of Pernambuco, was shown at the New York Film Festival. It was not until forty five years later, when Kleber Mendonça Filho and Juliano Dornelles’s Bacurau came to the New York Film Festival in 2019, that Ricardo returned to New York City, this time through song.
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This past September, the staff of Limite had the opportunity to conduct an interview with the Workers of the Cinemateca Brasileira (Trabalhadores da Cinemateca Brasileira) , the collective representing the archivists and staff of Brazil’s largest film archive, who have been fighting for nearly an entire year for the survival of this vital institution.
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The following interview took place with archivist Hernani Heffner on July 4th, 2020. Heffner has been working at Rio de Janeiro’s historic Cinemateca do MAM since 1996 and is one of Brazil’s most important film archivists.
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