Why do we use it? It is a long established fact that a reader will be distracted by the readable content of a page when looking at its layout.
Helena Solberg on A Entrevista (1966) and Meio-Dia (1970)
A importância de A Entrevista (1966) e Meio-Dia (1970), os dois primeiros filmes dirigidos por Helena Solberg, em muito transcende a posição de exceção ocupada por Helena Solberg como rara diretora mulher em um dos mais férteis períodos do cinema brasileiro.
/ INTERVIEWS A/V/ ARTICLESHelena Solberg on A Entrevista (1966) and Meio-Dia (1970)
A importância de A Entrevista (1966) e Meio-Dia (1970), os dois primeiros filmes dirigidos por Helena Solberg, em muito transcende a posição de exceção ocupada por Helena Solberg como rara diretora mulher em um dos mais férteis períodos do cinema brasileiro.
/ INTERVIEWS/ ARTICLES
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.
/ INTERVIEWS
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.
/ INTERVIEWS
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.
/ INTERVIEWS
