fronteira international documentary & experimental film festival

Experimental Cinema

News and resources on experimental films.

In search of the diffusion of the free experience of cinema, FRONTEIRA – International Documentary and Experimental Film Festival is born in 2014, Goiânia, Goiás, Brazil.  FRONTEIRA is a continuous space of creation, exhibition and reflection about cinema  perceived as “frontier zones” of cultural and film industry. With a stimulating programme,  the festival starts at august 30, and ends at September 07, on Cine Cultura, Cine UFG and Museum of Image and Sound, occupying affectively the center of the city and providing various aesthetics experiences on traditional spaces of cultural resistance. 

Links: 

Email: , location: , category: , directory categories.

• Cooperatives and archives
• Film critics & programmers
• Independent labs
• Technical resources
• Experimental cinema websites
• Other cinema websites
• Video channels
• Video on demand
• Venues/Screening series

Random entries

• Gabel, Paul
• Liotta, Jeanne (VC)
• Rose, Peter (VC)
• Mostra Internazionale del Cinema di Genova
• The Night Gallery
• Semana de Cine Experimental de Madrid

• Festival Reports
• Book Reviews
• Great Directors
• Great Actors
• Special Dossiers
• Past Issues
• Support us on Patreon

Subscribe to Senses of Cinema to receive news of our latest cinema journal. Enter your email address below:

• Thank you to our Patrons
• Style Guide
• Advertisers
• Call for Contributions

Inhabiting the Borderline: Freedom and Indetermination at the 1st Fronteira – International Documentary and Experimental Film Festival

The creation of an international festival dedicated to documentary and experimental cinema in Goiânia is, somehow, like opening a narrow trail in a virgin forest and putting a post on it. Goiânia is a city positioned in the middle of the Brazilian “central plateau”, far away from the major sites of film production, and capital of a state whose cinematic tradition is almost unknown to the rest of the country. To create a festival there is to invent a new territory in the midst of emptiness, placing on the ground the first wood of a hut. However, the real difference relies on the quality of this new territory: here the borderline does not mean a security line demarcation in front of what is foreign. Here “borderline” refers to a porous zone, a point of intercession that is open to an encounter between that which is inside and that which is outside.

The first edition of Fronteira – International Documentary and Experimental Film Festival – became a unique space-time in which viewers could experience intensively such a challenging and fascinating environment. I was there as jury member for the International Competition and observed the strength and the various nuances of this nascent project, organised by a group of local cinephiles and producers (Henrique Borela, Marcela Borela and Rafael Parrode) and curated mainly by them and by the Italian film critic Toni D’Angela.

Focusing on the fields of documentary and experimental films is a principle way to affirm this idea of the borderline, firstly because documentary and experimental film could be considered two cinematic worlds defined by their uncertain nature. Regarding documentary, one thinks about Jean-Louis Comolli’s “risk of the real” (a sort of necessary friction between the camera and the real, which opens up the documentary to the multiplicity and unpredictability of the world). Regarding experimental film, one vindicates Ken Jacobs’s terms, “indeterminate cinema” (a cinema that creates a non-codified and free experience for the viewer).

Usually relegated to the margins of the hegemonic spaces of film exhibition – obviously in the commercial cinema, but also in film festivals – those two fields became, for one week in Goiânia, the cynosure of eyes on a powerful reconfiguration of places. The combination of these two fields of filmmaking produced a new cartography and created a kind of Temporary Autonomous Zone for the cinematic experience. Although a considerable number of films were not exhibited in the best quality formats – certainly something to pay attention in the coming years, especially as a festival dealing with experimental cinema – the first edition of Fronteira was definitely a week to remember.

International Competition

The invention of this new cartography allowed the festival the freedom to program in the Competition an international festival hit like Manakamana (Stephanie Spray and Pacho Velez, 2013) – the Sensory Ethnography Lab’s anthropological and cinematic immersion – and a short Brazilian film like Karioka (d. Takumã Kuikuro), a kind of essayistic home movie directed by a young indigenous filmmaker. As viewers, in Manakamana we journey together with a group of religious people in a cable car addressing the temple of the Hindu goddess Manakamana in Nepal, while in Karioka we travel along with the director between Rio de Janeiro – where he is a student at a film school – and his former home, a native village in Xingu National Park.

While Manakamana is built as a piece in which the rigour is absolute – the fixed and unchanging framing, the travel time of the cable car exactly equivalent to the length of the shot – but reveals in the variations its bigger force (the fascination of every appearance of a new character, with its unsuspected nuances), in Karioka everything is mobile – the constant back and forth between Rio de Janeiro and Xingu intermediated by the editing, the instability of the frame that changes in each different situation, the stories that blend the Kuikuro language to the Portuguese and produce multiple resignifications – but its constitution as an autonomous cinematic thought is equally potent. In that sense, the festival’s gesture of freedom consists precisely in recognising, in two films whose social status and whose formal procedures are diametrically opposed, a vision equally original and a cinematic idea equally extraordinary. In both films a powerful aesthetic is at play, one concerned with what it might mean to approach cosmology in cinema, how to deal with filmic material (the outmoded use of 16mm, or the use of “low quality” digital), or even how to explore the land of comedy through new modalities.

Hotel Nueva Isla

The borderline between the more traditional documentary look and the discovery of new dramaturgical possibilities was a constant in the International Competition, with more or less interesting (and more or less predictable) results. In Hotel Nueva Isla (Irene Gutiérrez and Javier Labrador), an observational look at the inhabitants of an abandoned Havana hotel, several fictional sketches of rare dramatic force are presented in compositions that are in open dialogue with pictorial tradition. Yet, what could have produced a friction between registers becomes an obsession for an aesthetic of ruin, largely coded and captured by contemporary cinema. What in Pedro Costa’s work (at least since Ossos ) relies on an aesthetic conflict between the presence of bodies and the collapsing spaces (one could think of Ventura emerging from the darkness at the hospital in Horse Money , reconfiguring the balance between architecture and human figures), in Hotel Nueva Isla becomes an appeased adhesion to the ruin itself. The decline of the architecture eventually becomes the decay of the characters and of the form itself, when the film insists, by endless repetition, in affirming that these men and women, as well as the walls of the hotel, are in a process of deterioration.

Another film under the influence of Costa, however, goes beyond the contemporary canon. From Colombia, Mambo Cool (Chris Gude) starts from a position of investigation of marginality as an imaginative territory but finds its own dramaturgy: its marginal characters are not corrupted by the ruin of their surroundings, but exist in radical contrast to it, loving or fighting with each other, dancing Salsa or performing a mysterious poetry at once lyrical and brutal. Within an oblique, decentred framework, the film foregrounds these characters to offer an entirely different aesthetic of the margins.

Documentary and Beyond

In two Brazilian feature films in the International Competition, the borderline between documentary and fiction was stated quite differently, but in an equally powerful way.

White Out, Black In

White Out, Black In ( Branco Sai Preto Fica , Adirley Queirós) starts from a tragic story (the mutilation of a couple of young black men during a police intervention on a black dance event in the 1980s) to create – with the cooperation of these characters – a piece of science fiction that imagines Ceilândia (a city on the outskirts of Brasília) in a dystopian future, even more segregating than today. These survivors, now housed in bunkerswhere they prepare a sonic bomb intended for Brazil’s capital, are joined by another character: a detective from the future whose purpose is to collect evidence of the state’s criminal activities and to repair the damage suffered by peripheral populations. The combination of a strong conceptual structure, a desire for direct political intervention with few precedents in Brazilian cinema and exceptional cinematography results in a remarkable film.

The Hidden Tiger

On the other hand, The Hidden Tiger ( A Vizinhança do Tigre, Affonso Uchôa) features many recognisable elements of Latin American (and particularly Brazilian) cinema: a realistic approach to urban outskirts, themes of violence and drugs, an attempt to work with occasional actors. However, the way in which those elements are combined is a revelation: the result of a four year shooting, this coming of age film depicts the daily lives of five young guys on the outskirts of town (where hard work, children’s games, music, a fascination with weapons and friendship mingle) and gives the distinct impression of being the first Brazilian film to immerse itself so deeply in this world and to extend such a vibrant cinematic power to this immersion. The ludic self-awareness of the staging; the constant interplay between a strong dramatic line and a set of fragmented performances; the mix of comedy sketches and the protagonist’s dramatic heaviness; the frank fearless approach to violence and drugs; all of this gives The Hidden Tiger the integrity of a work completely aware of all its choices.

It would be also important to say that any first edition of a festival – even when pointedly seeking a state of freedom – involves a range of risks. With a remarkably large International Competition – a total of 37 films including 18 feature films, and over 25 sessions – it is impossible to maintain the same level of commitment to all curatorial choices. Yet the most provocative films came from the least expected places.

The Competition allows us to think about one of the most noticeable flaws in contemporary cinema: the glorification of authorship over the work itself. The example of Costa da Morte is particularly interesting. Awarded at several festivals (Locarno, Jeonju, FICUNAM), Lois Patiño was named in 2013 as one of the most promising directors of the year. Though the film presents itself as a fresh and compelling look at the relationship between man and nature (especially in the first ten or fifteen minutes), it encounters difficulties in supporting this gesture throughout its duration. The film’s initial radicalism is soon converted into a postcard aesthetic (a repetition of the procedure – a series of long shots depicting human figures and landscapes – that over time becomes a standardised way to portray the daily life of a coastal village). The first shots of men in conflict with the sea and the rock are undoubtedly impressive, but when the film insists on imposing its geometric obsession to any situation that presents itself in front of the camera – an amusement park, a man ringing the bell of the village church – it only finds a facile beauty and a kind of conservative bucolic appeal that paralyses a place and a community within an aura of lost archaism.

The opposite observation could be made about Il Segreto (cyop&kaf), a film that had found success at some festivals (Torino, Cinéma du Réel), but didn’t have the same reputation as Costa da Morte . Here, instead, the initial impression shows us a very ordinary film: a traditional documentary look at a group of youngsters that try to bring back the ritual of St. Anthony’s day in Napoli (used Christmas trees are reused to make the fire). However, what could have been a quiet re-enactment of an immemorial tradition becomes something much more complex: conflicts around the demarcation of a territory (the teenagers take possession of abandoned land, but face resistance from neighbours, police and rival groups); fights to store the collected trees; runaway escapes though the streets. The filmmakers imbue the film with an impressive vitality, while forming a powerful allegory about the political contradictions of the contemporary world. The conflict between a conservative generation and another that clamours for change , the urge to match the firmness of purpose and the pleasure of subversion, the commitment with pure beauty that cannot move away from the reconfiguration of political and geographic spaces. Everything is there, in this short story about arrangements for a fire. When to the sound of a beautiful piece of jazz the teens finally set fire to the trees piled on a vacant land conquered with great difficulty, each hurl of a Molotov cocktail carries the force of a political statement. A tradition paralysed in the past is no longer the film’s focus. Instead it is the vital celebration of the movement of the bodies, of the fire, of the reinvention of a physical and symbolic territory.

Abigail Child, Andrea Tonacci and the Rushes

Outside the International Competition, the twin ideas of the festival’s cartographic invention and the borderline as a place of creative indetermination appear even more pointedly. Abigail Child’s Vis à Vis , programmed in a session called “Classics Of Experimental Film… And Something Else”, is a masterpiece: a celebration of underground experience as it mixes outtakes filmed decades ago with a vibrant soundtrack. Child’s film is simultaneously a mémoire film and a pure feast for the eyes and the ears and her presence at the festival was an opportunity to see how this great American filmmaker transits between the fields of experimental cinema (as in Elsa and Unbound , both from 2013) and documentary (as in Riding the Tiger: Letters from Capitalist China , 2010, programmed in a session called “Camera Doc: The Eye On The World And Its Conflicts”).

As part of the retrospectivededicated to the Brazilian filmmaker Andrea Tonacci, some key works from the history of Brazilian cinema were screened: Olho por Olho (1966), Blá-blá-blá (1968), Bang Bang (1970), Conversas no Maranhão (1977) and The Hills of Disorder ( Serras da Desordem , 2006), films that move between ethnography, essay and fragmented fiction, all with an unique taste for odyssey. The Hills of Disorder – the only film showed in 35mm at the whole festival – isnothing less than the best Brazilian film of this century, depicting the incredible journey of Carapiru, an Indian who survived the massacre of his tribe and spent the next ten years wandering alone through Brazil. Tonacci’s film is, at the same time, a great mix of epic fiction and ethnography, a fabulous essay on language and an accurate analysis of Brazilian history, particularly in relation to our pernicious developmentalism.

But the festival also provided to audiences an encounter with unfinished works, sketches and rough material still under construction. Tonacci’s presence at Goiânia was a beautiful complement to the screenings, and a great opportunity to uncover the aesthetic and political thought of one of our greatest filmmakers. On Os Arara , a project made for television between 1980 and 1983, that difference between the rushes and the finished work is particularly stimulating. Though the two first parts of the film alreadycontain something of Tonacci’s epic cinema – and reveal an impressive odyssey into the forest for the search for an isolated indigenous group threatened by entrepreneurs who have pushed them into the woods –, the rapid, television-style of editing ends up partially affecting the power of the images. However, in the third and final part of the exhibited film, what we have is non-edited material that reveals the first contact between supporters of the native culture and Arara Indians. At this point, Tonacci’s camera is freed and constructs an investigation without precedent into the nature of the filmic image itself. In the tactile discovery of the Indians’ bodies and in the curious looks to the camera and to the recorder, what is at stake for the viewer is the encounter between a Western logic of representation – inscribed on the devices – and something we do not know, and we can only keep asking with our gaze and listening. The material appearance of this other fringe of humanity – which exhibits a mysterious verbal frequency, a distinct movement of the body, an indecipherable look – registers on the image itself a crisis, a split between what the cinema can figure and what it can, actually, only intuit, fumble, touch.  

Multiple Farocki

In the retrospectivededicated to Harun Farocki (planned before his death in July), it was possible to see another direction of this borderline idea: the contestation of the boundary between art and criticism, as well pointed by Nicole Brenez in her text to the festival catalogue. The visual studies of Farocki articulate a critique of images – from television to computer games, from publicity to cinema itself – made in an immanent manner: using the procedures of cinema itself. What the curators of the festival allowed us to discern, however, was the multiplicity of cinema gestures covered by Farocki’s work. Although the retrospective was far from complete, it was very diverse and stimulating.

In addition to the examination of images through free association and comment intermediated by editing – a constant inFarocki’s oeuvre, as in Videograms of a Revolution (1992), Workers Leaving the Factory (1995) or in the Parallel installation (2013) – there are a range of other procedures. An Image (1983), shot inside the Playboy studios, has a strictly observational look , but it also has the particularity of being an observation of the production of absolute artifice. On the calculation of each position of the model body, on the camera look for each decision regarding the scenario, we find in Farocki an artist of space, paradoxical metteur en scène . In the astonishing Inextinguishable Fire (1969) , a young and irreverent Farocki construct s a kind of fictitious pamphlet about Napalm with the same touch of radicalism and good humour. The use of actors, the construction of humorous sketches, the incisiveness of the Brechtian dramaturgy reveals a multifaceted filmmaker whose fictional composition is absolutely peculiar.

Over nine days, Fronteira gave to its audience an experience of the borderline as a freedom space open to exchanges, to mutual contagiousness and to the unpredictability of an intermediate zone still under construction. Even though not all the exhibited films pointed to that place of openness and invention, it is impossible not to recognise a vibrant curatorial wager, one that seems willing to reinvent itself in years to come.

Fronteira – International Documentary and Experimental Film Festival 30 August – 7 September 2014 Festival website: http://fronteirafestival.com

NEWS FROM C A LIFORNIA INSTITUT E OF THE ARTS C A LARTS

Event August 20 - 29, 2015

CalArtians Screen Films at Fronteira Film Festival in Brazil

Above : Trailer for Travis Wilkerson’s ‘Machine Gun or Typewriter.’

Beginning Thursday (Aug. 20), the Brazilian film and art production company Barroca hosts the  Fronteira International Documentary and Experimental Film Festival in the Brazilian city of Goiânia.

The festival, now in its second year, features more than 110 films from all over the world, many of them unreleased in Brazil. The free festival includes several CalArtians in its slate of programming.

• In competition at the festival is CalArts School of Film/Video faculty Travis Wilkerson’s feature length Machine Gun or Typewriter , a “punk-agit-noir” that follows a man desperately searching for his lost love through an illegal pirate radio broadcast.
• School of Theater faculty Janie Geiser’s   The Hummingbird Wars,  Film/Video faculty Rebecca Baron’s   Detour de Force  and alumnus Mike Stoltz’s (Film/Video MFA 14) Under the Atmosphere  are all in competition in the short-length film category.
• Five films by Theater faculty Lewis Klahr have been selected for the  Filmmakers at the Border program, which brings together filmmakers who “explore the limits of language, transiting between different supports, materials and producing unique insights and narratives.” Klahr’s films screening at the festival are:  Lethe ,  False Aging ,  A Thousand Julys, April Snow and  The Occidental Hotel.
• Alumna Karissa Hahn (Film/Video BFA 14) is one of two young filmmakers featured in the  Future Now  section. Her works— Assumptions of Your Phantom(sy), Reveries, In Effluence accord; Emulsion, Effigy in Emulsion  and  Inkjet 3065A— are screening in a program of experimental cinema whose “source(s) are small and fragile traces of a whirlwind of stormy and fleeting information.”
• Film/Video faculty Thom Anderson’s newest film essay,  The Thoughts That Once We Had,  which looks at the history of cinema and is loosely inspired by the writings of French philosopher Gilles Deleuze, has a special screening at the festival on Aug. 29.

The Fronteira International Documentary and Experimental Film Festival is ongoing through Aug. 29. For complete schedule and venue information, click here.

Above : Trailer for Karissa Hahn’s ‘Assumptions of Your Phantom(sy).’

Update: Alumnus William E. Jones’ (Film/Video MFA 90) Psychic Driving also had a special screening at Fronteira.

Event Details

Fronteira international documentary and experimental film festival.

Aug. 20-29 Goiânia, Brazil Free

Categories Browse all »

• Critical Studies
• Graphic Design
• Integrated Media
• International

• About the association
• Partners and Networks
• Apply for membership
• Services for Artists
• Rental terms and conditions
• Distribution Catalogue
• Distribution

Sami van Ingen’s film Flame wins the Best Film by Audience Jury Award at Fronteira Festival, Brasil

Sami van Ingen’s short film Flame wins the Best Film by Audience Jury Award at the IV Fronteira International Documentary and Experimental Film Festival in Goiânia, Brasil. The Short Film Competition of Fronteira 2018 featured 18 works selected out the 2755 submitted films.

Since its first edition FRONTEIRA – INTERNATIONAL DOCUMENTARY AND EXPERIMENTAL FILM FESTIVAL has been dedicated to the exhibition of films that resist the predominant forms of cinematic language, questioners of world-made previews and offering new ways of seeing, thinking and perceiving the reality. The festival’s purpose is to bring films mostly unpublished in Brazil, from contenders and marginal filmmakers around the world, creating a significant cut in the issues and movements that structure today’s cinema and how they point their way to the future.

Sami van Ingen is a veteran in alternative Finnish film, who has worked as an artist, lecturer and curator since the late 1980s. He lives and works in Hankavaara, Finland. Van Ingen finished his doctoral studies in the Academy of Fine Arts in Helsinki in 2012. He often uses random or found materials in his works. His works have been seen in many national and international exhibitions and festivals over the years, including Tbilisi Triennial (2012), Kunsthalle Helsinki (2005) and Sara Hildén Art Museum in Tampere, Finland (2002).

Flame is a A fractured melodrama, based on damaged frames from the last minutes of the only remaining nitrate reel of the lost feature film Silja – Fallen Asleep When Young (1937) directed by Teuvo Tulio. All screening prints and the negative of the film were destroyed in a 1959 studio fire. A sequence from the middle of the film was found at La Cinémathèque Française in Paris in 2015.  Flame premiered at the International Film Festival Rotterdam in January 2018.

The film is funded by AVEK / Tuuli Penttinen-Lampisuo, in co-production with Yle / Sari Volanen. Distributed by AV-arkki.

More information: fronteirafestival.com

AV-ARKKI HAS PROMOTED AND DISTRIBUTED FINNISH MEDIA ART SINCE 1989. AV-ARKKI’S PROMOTIONAL EFFORTS HAVE MADE THE ARTISTS’ PARTICIPATION IN THIS EVENT POSSIBLE.

Academia.edu no longer supports Internet Explorer.

To browse Academia.edu and the wider internet faster and more securely, please take a few seconds to  upgrade your browser .

Enter the email address you signed up with and we'll email you a reset link.

• We're Hiring!
• Help Center

Enlightened Frontier

2014, La Furia Umana

About the I Fronteira International Festival of Documentary and Experimental Film.

Related Papers

Clare Parfitt

This article discusses the relationship between early cinema and the live entertainment context from which it emerged in fin-de-siècle Paris. Previous accounts of this relationship by film, dance and visual culture theorists have often identified Loïe Fuller’s choreography as a key precursor to cinema’s confluence of light, movement and technology. This article argues, however, that Fuller’s work differed in significant ways from the aesthetic of early cinema, labelled the ‘cinema of attractions’ by Tom Gunning (1990). Rather, it is argued that the cinema of attractions was more closely aligned with the aesthetic of the popular Parisian café-concert and dance hall, with which Fuller’s work was contrasted. This aesthetic drew on the romantic discourse of the uncanny dancing machine that had been embodied by the cancan since the late 1820s. It is proposed that Fuller’s most famous work preempts not early cinema, but the rise of narrative cinema around 1907. An interdisciplinary approach is employed, drawing on literature from early film studies, dance studies and research on nineteenth century French performance by English and French literature scholars. The conclusion implies a repositioning of early cinema and its aesthetic in relation to the broader contexts of fin-de-siècle entertainment, spectatorship and dance.

Proceedings of the Society for Dance History Scholars

Lauren Erin Brown

Alex Fischer

Gary D . Rhodes

Horror film scholarship has generally suggested that the supernatural vampire either did not appear onscreen during the early cinema period, or that it appeared only once, in Georges Méliès' Le manoir du diable/The Devil's Castle (1896). By making rigorous use of archival materials, this essay tests those assumptions and determines them to be incorrect, while at the same time acknowledging the ambiguity of vampires and early cinema, both being prone to misreadings and misunderstandings. Between 1895 and 1915, moving pictures underwent major evolutions that transformed their narrative codes of intelligibility. During the same years, the subject of vampirism also experienced great change, with the supernatural characters of folklore largely dislocated by the non-supernatural " vamps " of popular culture. In an effort to reconcile the onscreen ambiguities, this paper adopts a New Film History methodology to examine four early films distributed in America, showing how characters in two of them—Le manoir du diable and La légende du fantôme/Legend of a Ghost (Pathé Frères, 1908) have in different eras been mistakenly read as supernatural vampires, as well as how a third—The Vampire, a little-known chapter of the serial The Exploits of Elaine (Pathé, 1915)— invoked supernatural vampirism, but only as a metaphor. The paper concludes by analyzing Loïe Fuller (Pathé Frères, 1905), the only film of the era that seems to have depicted a supernatural vampire. Revising the early history of vampires onscreen brings renewed focus to the intrinsic similarities between the supernatural creatures and the cinema.

Valerio Carando

Images Secondes

Elisa Uffreduzzi

Dans cet article, j'analyse les modalités d’apparition de motifs orientalistes dans les numéros dansés d’un corpus de films italiens de la période muette, pour en tirer des pistes de réflexion sur la caractérisation des personnages dans le récit cinématographique européen à cette période. Cet article est une traduction, élaborée à partir de mon "Orientalismo nel cinema muto italiano. Una seduzione coreografica", « Cinergie. Il cinema e le altre arti », n.s., n°3, mars 2013 (http://www.cinergie.it/?p=2295), pp. 20-30 ; et d’un extrait du livre "La danza nel cinema muto italiano", Canterano (RM), Aracne 2017, pp. 153-160 ; 169-183.

Harmony Bench

Lindiwe Dovey

Curating Africa in the Age of Film Festivals offers the first scholarly exploration of the vital yet controversial role played by film festivals in curating particular versions of Africa, African film, African filmmakers, and African audiences. Drawing on fifteen years of Dovey’s work and field research, it takes us on a festive, historical tour, analyzing the curation of Africans at the world fairs, the contemporary curation of African film and African filmmakers at film festivals, and the proliferation of international film festivals across Africa today. Emphasizing the live potential of festivals, the book reveals the complex ways that festivals are co-authored by their organizers and participants, and makes a case for the subjective and contextual nature of aesthetic judgment.

Colin Burnett

This essay, written for a February 2017 exhibition at the Mildred Lane Kemper Art Museum (St. Louis), explores early French cinema as a precarious amusement attraction whose pleasures depended on what Tom Gunning calls "curiositas," a lust of the eyes. The piece culminates with an analysis of the life rhythms and social commentary in the Lumière masterpiece, Laveuses sur la rivière/Washerwomen on the River (1897).

Jennifer Nikolai

How can the lightweight video camera in the hands of the improvising dancer, enhance compositional choices in moment-to-moment or retrospective decision-making in studio? I propose that the camera in the hands of the dancer moving and passing the camera between dancing subjects/objects is a form of improvisational investigation. I refer to this dyadic approach as camera-dancer, distinct from the tradition of the camera as archival instrument, in multimedia or interactive performance. The camera-dancer as instigator/provocateur opens perspectives towards composition otherwise not considered. In this paper I highlight approaches that moving image pioneers Maya Deren and Dziga Vertov held towards the camera and how this has informed studio improvisations myself and dance collaborators apply. Perhaps it is how we as dancing operators react to moments before, discoveries in the moment, a retrospective 'camera consciousness,' that enhances compositional openings as a form of camera dramaturgy.

Loading Preview

Sorry, preview is currently unavailable. You can download the paper by clicking the button above.

RELATED PAPERS

Arti dello Spettacolo / Performing Arts

Ariadne Mikou

Jeannette Ginslov

Nicole B Hoffmann

New Astronomy

Denilso Camargo , cjb b

elena mazzoleni

Julian Reid

NICOLA M. DUSI

Camera Obscura: Feminism, Culture, and Media Studies

Elizabeth Coffman

Carmelo Mazza

Jonathan Haynes

RIO URANIUM

Anne Vermeyden

Skadi Loist

International Journal of Performance Arts and Digital Media

Claudia Kappenberg

Vanja Ristic

Early Film Culture in Hong Kong, Taiwan, and Republican China

Birds of Paradise: Costume as Cinematic Spectacle, Koenig Books

Marketa Uhlirova

Eustacia Riley

Jessica Silbey

Ger Zielinski , Skadi Loist , Roger Pace

Kasia Jozwik

Ger Zielinski , Roger Pace

Studies in European Cinema

Patrick Vonderau

Hanna Järvinen

Emma Blomkamp

Andrea Mariani

Laurence Beruin

RELATED TOPICS

•   We're Hiring!
•   Help Center
• Find new research papers in:
• Health Sciences
• Earth Sciences
• Cognitive Science
• Mathematics
• Computer Science
• Academia ©2024

Fronteira International Documentary & Experimental Film Festival .css-14m6fmb{display:none;}@media (min-width:810px){.css-14m6fmb{display:block;}} 2020

George Clark

LANDSCAPE ARCHEOLOGY, Fronteira Festival, 15-26 March 2017

ARQUEOLOGIA DA PAISAGEM/ LANDSCAPE ARCHEOLOGY III FRONTEIRA – International Documentary and Experimental Film Festival http://www.fronteirafestival.com/ 15-26 March 2017

Arqueologia da paisagem / landscape archeology  is programme dedicated to my  recent film work at the upcoming Fronteira Festival in Brazil.  Now in its third edition the festival is dedicated to documentary and experimental film. This year the programme will also include work by Lewis Klahr, Fern Silva, Tomonari Nishikawa, Ana Vaz, Gabriel Abrantes, Mónica Savirón, Khavn De La Cruz, Brigid McCaffrey, Julio Bressane among others and focuses on the work of Rita Azevedo Gomes, Boris Lehman, Abigail Child and Ken Jacobs.

Mostra ARQUEOLOGIA DA PAISAGEM – GEORGE CLARK 24 March, Cine Ritz, Goiânia GO, Brasil Sea of Clouds, George Clark (UK / Taiwan, 2016, 16 min) A Distant Echo, George Clark (UK / USA, 2016, 82 min)

Close Watch

A chronicle of the creative adventures of filmmaker Maximilian Le Cain.

Thursday, July 24, 2014

Efs programme in brazil.

0 Comments:

Post a Comment

<< Home

View my complete profile

Previous Posts

• CLOUD OF SKIN Teaser
• De LUX Edition
• Operation Rewrite Interview
• Expansion of the Microscope
• It's Happening: CLOUD OF SKIN
• Rashidi's 'Rearrangement Trilogy' Online
• Sternberg's Wisdom
• EFS @ The Guesthouse: Double Bill
• Irish Experimental Film Exhibition in St. Petersburg
• A Piece of Broken Mirror Suspended on a String

This is a paragraph of text that could go in the sidebar.

Letterboxd — Your life in film

Forgotten username or password ?

• Start a new list…
• Add all films to a list…
• Add all films to watchlist

Add to your films…

Press Tab to complete, Enter to create

A moderator has locked this field.

Add to lists

Films directed by scott barley.

• Director 20
• Cinematography 15
• Camera Operator
• Special Effects
• Remove filters
• Fade watched films
• Show custom posters
• Custom posters Any Theirs Yours None
• Show watched films
• Hide watched films
• Show liked films
• Hide liked films
• Show rated films
• Hide rated films
• Show logged films
• Hide logged films
• Show rewatched films
• Hide rewatched films
• Show reviewed films
• Hide reviewed films
• Show films in watchlist
• Hide films in watchlist
• Show films you own
• Hide films you own
• Show films with your custom posters
• Hide films with your custom posters
• Show films with your custom backdrops
• Hide films with your custom backdrops
• Show short films
• Hide short films
• Show TV shows
• Hide TV shows
• Hide documentaries
• Hide unreleased titles
• Show obscure films
• Hide obscure films
• Show films with backdrop
• Hide films with backdrop
• Show Nanocrowd films
• Hide Nanocrowd films
• Billing Order
• Newest First
• Earliest First
• Highest First
• Lowest First
• Shortest First
• Longest First
• Amazon Video US
• Apple TV Plus RU
• Apple TV RU

Upgrade to a Letterboxd Pro account to add your favorite services to this list—including any service and country pair listed on JustWatch—and to enable one-click filtering by all your favorites.

• Powered by JustWatch
• Documentary
• Science Fiction

Select your preferred backdrop

Select your preferred poster, upgrade to remove ads.

Letterboxd is an independent service created by a small team, and we rely mostly on the support of our members to maintain our site and apps. Please consider upgrading to a Pro account —for less than a couple bucks a month, you’ll get cool additional features like all-time and annual stats pages ( example ), the ability to select (and filter by) your favorite streaming services, and no ads!

site categories

Barry keoghan joins cillian murphy & rebecca ferguson in ‘peaky blinders’ movie at netflix, breaking news.

• Kevin Macdonald On Diving Into John Lennon’s Archive For Venice Doc ‘One To One: John & Yoko’ & The Musician’s Connection To Politics Today: “We’ve Talked About The Same Things For 50 Years”

By Zac Ntim

International Reporter

More Stories By Zac

• London Film Festival: Dea Kulumbegashvili’s ‘April’ And Barry Keoghan Pic ‘Bring Them Down’ To Play In Competition 
• Isabelle Huppert & Venice Jury Members Share Concerns About “Very Weak” Condition Of Contemporary Cinema 

1970s New York. 

Andy Warhol, Susan Sontag, Studio 54, John Lennon and Yoko Ono . 

It’s a period that has been explored to death, with countless works on the ‘scene’ across the city. Is there really anything fresh or engaging to be said about that time or its main protagonists? Scottish filmmaker Kevin Macdonald offers an interesting answer with his new feature documentary One To One: John & Yoko , which debuts tomorrow at the Venice Film Festival. 

Related Stories

‘Beetlejuice Beetlejuice’ Review: It’s A Wonderful Afterlife For Tim Burton’s Joyously Macabre Sequel – Venice Film Festival

‘Beetlejuice Beetlejuice’ Venice Film Festival World Premiere Photo Gallery

Macdonald’s unique approach to the material provides viewers with an intimate look into the legendary couple’s lives but also creates a powerful bridge between the violent turbulence of 1970s America and our social and political climate today.

RELATED: Venice Film Festival 2024: All Of Deadline’s Movie Reviews

Below, Macdonald speaks to us about diving into the archives of the Lennon estate, visiting John and Yoko’s now-demolished apartment on Bank Street in Manhattan, and what Sean Ono Lennon said after seeing the film.

The Venice Film Festival runs until September 7.

DEADLINE: This film was announced a few years back. But where did the idea come from to focus on this one concert John and Yoko gave?

RELATED: Netflix Takes U.S. Rights To Pablo Larraín’s ‘Maria’ Starring Angelina Jolie

I was a Beatles fan and was particularly fond of John, so I was never going to say no. But I thought there’s been so many films about The Beatles and Lennon, how do you say something fresh? I was doing a bit of research, and I came across these quotes where John talked about when he went to America, all he did for the first couple of years was watch TV. It’s the quote that starts the film. So I thought it might be interesting to replicate his experience in the early days of being in America, trying to understand this country through how it presents itself on television.

RELATED: Alfonso Cuarón Talks Rare Foray Into TV With Venice Series ‘Disclaimer’ Starring Cate Blanchett & Kevin Kline: “We Approached This Whole Thing As A Film”

DEADLINE: There are so many gems from the archives in this like John on the phone with his manager, pitching these wild ideas…

MACDONALD: And the manager is always totally against them. And then as soon as John pushes him, he says it’s a great idea. That’s every artist-manager relationship that ever existed. Those calls were a real treat to find. They weren’t one of the first things I heard. I was given this drive with all the Lennon home movies and interviews. All the stuff the estate had. It was just an amazing gold mine of unseen things. All shards, none of them complete. They don’t tell the story, but there were moments. A few months later, I was called up by Simon Hilton, who was the sort of liaison with the estate. He said we’ve just found this box of audiotapes. Apparently, for a while, Yoko wanted to record all their phone calls. The estate hadn’t even listened to them. 

RELATED: In ‘Separated,’ Oscar Winner Errol Morris Takes On Trump Administration’s “Zero Tolerance” Policy That Ripped Apart Migrant Families – Venice Film Festival

DEADLINE: Where does the estate keep all of these things?

MACDONALD: Well because Yoko was an artist even back then, in the Sixties, she carried the tradition of collecting all the pieces of her artistic life. You meet a lot of visual artists now who keep everything archived in boxes with tissue paper. She already had that kind of attitude. So she kept a lot of stuff. I don’t think John was necessarily a collective person, but she was. So things like the bed they had in New York are still there. That was where the idea came from to rebuild the apartment where they were watching television. In the original ending, which I sort of regret taking out, I went out to New York and visited their old apartment on Bank Street. Lo and behold, it was being knocked down and turned into like a $70 million house with a triple basement and a pool and all that shit. So the guy let me in there and I filmed them destroying where their bedroom had been. That was originally the end of the film.

DEADLINE: Wow, do you think you’ll ever release that footage?

MACDONALD: I’m sure we’ll put it out somewhere.

RELATED: Sigourney Weaver Accepts Lifetime Achievement Golden Lion At Venice Film Festival Opening Ceremony: “I Want To Roar”

DEADLINE: The thing I’ve always admired about The Beatles and John is how avant garde they really were. And this film really taps into that energy.

DEADLINE: I’ve always thought John was erratic in his beliefs at this time in his life . He was still quite immature and trying to figure out who he was and what he believed in. That’s why he latches on to so many things. And that’s pretty clear in this film.

MACDONALD: I think that’s right. It’s amazing to think he was 31/32 when the film begins. The film covers 18 months from when they moved into Bank Street until they moved into the Dakota. It’s a story about how this concert came to be and this little-known period of their lives. I think you also see someone who is almost in trauma from the experience of The Beatles. He’s running away from that and trying to figure out who he is. Nobody else had done what The Beatles achieved except for Elvis, who’d made a total mess of it. And there was so much unpleasantness, particularly around Yoko in Britain. A lot of that was racism. The way she was treated in Britain was pretty appalling. So they were escaping from that and trying to figure out who they were and what they wanted to do.  

DEADLINE: Yeah, it’s funny, the story of John and Yoko in New York is really a story about Britain. And, in some ways, mirrors the U.S. and UK today.

MACDONALD: That’s true. Once we started doing research on what he would have been watching on TV, we found that all the news clips and shows were incredibly similar to things today. Instead of people protesting about Gaza on the campus, they’re protesting about the Vietnam War. It’s America today, still unable to come to terms with its racial issues. You have George Wallace, a populist politician very much like Trump, saying stuff like “You’re not safe in the big cities in this country” and then he gets shot. I couldn’t believe it then when Trump was also shot. We always think we’re the first generation to worry about the environment. But back then, Nixon started the Environmental Protection Agency, which was the one good thing he did in office. So we’ve depressingly talked about the same f*cking things for about 50 years, and we still haven’t figured them out.

DEADLINE: One omission from the doc I thought was interesting is Paul McCartney. Around that time, he and John were going back and forth with diss tracks, right?

MACDONALD: There’s no real omission in the sense that I wanted to leave things out. The approach for this film was to use whatever existed. So I can’t be accused of leaving anything out because I just didn’t have everything, which was a refreshing position to start from. I hope the film can reach a wide audience and I hope people connect to it. But I’m aware that it’s a structurally unusual film. So I don’t know what the wider audience will think. But I do believe it’s entertaining and engaging because John and Yoko are very entertaining and engaging. 

DEADLINE: You made this doc with Plan B. What is it like working with those guys?

DEADLINE: You’ve had quite a diverse and unique career compared to most British directors. Why do you think you’ve managed to work so freely for so long?

MACDONALD: I’m very flexible and curious. I come from a documentary background so often the subjects, even in fiction, come from a political place. Take The Mauritanian , for example. That film gets done thanks to the support of a lot of big stars and nobody is really making any money. I’m not sure that many other filmmakers want to enter into that terrain. They want to make the kind of films that they want to make, which may require bigger budgets and personal stories. I’m not really a personal filmmaker in that way. I’m just very curious about the world and how I want to make lots of different kinds of films.

Must Read Stories

Cuaron, blanchett on apple series; angelina jolie on ‘maria’; reviews; more.

Venice Freelance Press Corps Decries Lack Of Talent Access, Warns Of Boycott

Barry keoghan joins cillian murphy & rebecca ferguson in ‘peaky’ movie, michelle mendelovitz exits as head of mattel television studios, read more about:, subscribe to deadline.

Get our Breaking News Alerts and Keep your inbox happy.

Deadline is a part of Penske Media Corporation. © 2024 Deadline Hollywood, LLC. All Rights Reserved.

• Today's news
• Reviews and deals
• Climate change
• 2024 election
• Newsletters
• Fall allergies
• Health news
• Mental health
• Sexual health
• Family health
• So mini ways
• Unapologetically
• Buying guides
• Labor Day sales

Entertainment

• How to Watch
• My watchlist
• Stock market
• Biden economy
• Personal finance
• Stocks: most active
• Stocks: gainers
• Stocks: losers
• Trending tickers
• World indices
• US Treasury bonds
• Top mutual funds
• Highest open interest
• Highest implied volatility
• Currency converter
• Basic materials
• Communication services
• Consumer cyclical
• Consumer defensive
• Financial services
• Industrials
• Real estate
• Mutual funds
• Credit cards
• Balance transfer cards
• Cash back cards
• Rewards cards
• Travel cards
• Online checking
• High-yield savings
• Money market
• Home equity loan
• Personal loans
• Student loans
• Options pit
• Fantasy football
• Pro Pick 'Em
• College Pick 'Em
• Fantasy baseball
• Fantasy hockey
• Fantasy basketball
• Download the app
• Daily fantasy
• Scores and schedules
• GameChannel
• World Baseball Classic
• Premier League
• CONCACAF League
• Champions League
• Motorsports
• Horse racing

New on Yahoo

• Privacy Dashboard

Mosaic Film Festival returns to Rockford with local, international films to be screened

ROCKFORD, Ill. (WTVO) — The 2024 Mosaic Film Festival will spotlight short films from regional and international filmmakers.

The 17th annual event will take place from September 13th to 15th at the Rockford Public Library’s Nordloff Center, at 118 N Main Street. The festival said it received hundreds of submissions from 75 countries.

Screenings include narrative, animated, experimental, music video, and documentary films, and will be shown from 11 a.m. – 9 p.m. Friday and Saturday, and 11 a.m. – 6 p.m. on Sunday.

Feature films to be showcased include “Iraq’s Invisible Beauty,” about Latif Al Ani, who photographed Iraq for 30 years before multiple wars arose. Now he travels through his devastated country in search of the people and places he photographed at the time; “Between the Notes,” centering on the life and career of world-renowned pianist Hélène Grimaud who is recognized as one of the greatest pianists of her generation; and “The House that Stood,” about Camillo, a teenager who is living through WWII in San Pietro Avellana, southern Italy, 1943.

An opening night red carpet event will take place Friday, September 13th at 6:30 p.m., followed by a special program of films made by students with Rock Valley College’s Mass Communications program.

Tickets can be purchased in advance at the Mosaic Film Festival website .

Copyright 2024 Nexstar Media, Inc. All rights reserved. This material may not be published, broadcast, rewritten, or redistributed.

For the latest news, weather, sports, and streaming video, head to MyStateline | WTVO News, Weather and Sports.

Camden International Film Festival Unveils Politically Packed 2024 Lineup (EXCLUSIVE)

By Addie Morfoot

Addie Morfoot

Contributor

• Obamas’ Higher Ground Partners on Telluride Short Baseball Doc ‘The Turnaround’ From Oscar Winner Ben Proudfoot (EXCLUSIVE) 7 hours ago
• Nat Geo Doc ‘Killer Lies: Chasing a True Crime Con Man’ Examines How a Serial Killer Expert Was Unmasked as a Serial Liar 1 day ago
• PBS Documentary Series ‘Independent Lens’ Reveals Fall Slate of Films (EXCLUSIVE) 6 days ago

The 20th edition of the Camden Intl. Film Festival, kicking off Sept. 12, features a lineup full of political, hot button documentaries fresh off showings at Toronto, Venice and Telluride. The Maine-based film festival will unfold in a hybrid format, with both in-person events over a four-day period concluding Sept. 15, and online screenings available from Sept. 16 to Sept. 30 for audiences across the U.S.

Related Stories

Content Owner Lawsuits Against AI Companies: Complete Updated Index

Big Loud CEO Seth England to Be Honored by T.J. Martell Foundation; Morgan Wallen, Ernest, Hardy to Perform at Gala

Popular on variety.

The 20th edition of the doc fest will feature two world premieres: Adam Sekuler’s “The Flamingo,” a portrait of a woman in her mid-sixties as she rediscovers her agency and sexuality through the BDSM community and Matthew Wolkow and Jean-Jacques Martinod’s “Eastern Anthems,”an epistolary essay doc about the U.S. during the COVID-19 pandemic.

In total, CIFF, a key campaign spot for documentaries seeking Oscar recognition, will feature 31 features, 22 short films, and two immersive experiences from 37 countries. Sixty percent of the program features doc titles making either their U.S., North American or world premieres.

In January Ben Fowlie, CIFF executive and artistic director of the Points North Institute and CIFF founder stepped down from his position after 20 years with the organization. Fowlie co-founded the Points North Institute, which produces the fall festival, with CIFF program director Sean Flynn and fest board chair Caroline von Kuhn. This year, in addition to continuing his leadership of artist programs and fellowships, Flynn expanded his role to include overseeing the 20th edition of the doc fest.

“The 20th edition of CIFF will be a space to celebrate the enduring power and ever-expanding possibility of the documentary form — and to imagine how we might collectively fortify its future.” says Flynn. “At a time when basic democratic values like freedom of expression, equality and pluralism seem to be at risk, the filmmakers in this year’s program remind us why artistic independence is so vital to our culture. Their films take bold creative risks, introduce us to perspectives missing from public discourse, and offer refracted visions of both the world we inhabit and the more free worlds we can build.”

Along with Flynn, this year’s CIFF was curated by Milton Guillén, Zaina Bseiso, and Cam Howard.

Other festival feature doc hightlights include: Daniel Roher (“Navalny”) and Edmund Stenson’s National Geographic doc “Blink” about a Canadian family embarking on a round-the-world adventure after learning that three of their four children will soon be blind due to a genetic condition; Elizabeth Lo’s “Mistress Dispeller,” about a woman in China attempting to save her marriage by hiring an undercover professional to break up her husband’s affair; and Ted Passion’s “Patrice: The Movie,” a love story that centers the ongoing struggles for disability justice and marriage equality.

Arun Bhattarai and Dorottya Zurbó’s “Agent of Happiness,” Josh Greenbaum’s “Will & Harper,” Johan Grimonprez’s “Soundtrack To A Coup D’etat,” Gary Hustwit’s “Eno,” Jazmin Renée Jones’s feature debut “Seeking Mavis Beacon,” Stephen Maing and Brett Story’s “Union” are the six Sundance 2024 docus screening at CIFF.  

In total, close to 70 fellows will be on the ground at CIFF via partnerships with other artist fellowships and labs from American Film Showcase, Bay Area Video Coalition, American Documentary | POV and Chicken & Egg Pictures.

The complete list of CIFF’s features and short films can be found below.

“Agent Of Happiness” Arun Bhattarai, Dorottya Zurbó | Bhutan, Hungary 

How can you measure happiness? The country of Bhutan invented Gross National Happiness to do just that, and Amber is one of the agents who travels door to door to meet people and measure how happy they really are. He is still living with his elderly mother at the age of 40, but nevertheless, a hopeless romantic who dreams of finding love: a happiness agent who is in search of his own happiness. We embark with Amber on a cross-country road trip meeting citizens from all walks of life, reminding us of the fragility and beauty of our own happiness. No matter where we live.

“Apocalypse In The Tropics” Petra Costa Brazil, USA, Denmark Filmmaker Petra Costa explores Brazil’s complex political landscape, focusing on the alliance between televangelists like Silas Malafaia and former President Jair Bolsonaro. The film chronicles Brazil’s tumultuous recent history, from the COVID-19 pandemic to the attempted coup in 2023, revealing the intertwining of religious fervor and political extremism. Through a blend of direct cinema and essay, Costa weaves a narrative that’s both uniquely Brazilian and universally relevant. With unprecedented access to top politicians, “Apocalypse in the Tropics” serves as a cautionary tale, exposing the fragility of democracies and the power of religious narratives in shaping global political discourse. “Apple Cider Vinegar” Sofie Benoot Belgium, Netherlands North American Premiere

Stones are at once the most foundational and the most overlooked parts of our lifeworld. When a retired nature documentary narrator passes a kidney stone, she decides to tell one more story about this forgotten world of stone. A hypnotic essay film asking urgent ecological questions, Apple Cider Vinegar takes the viewer on a journey meeting Palestinian quarry workers, passionate British Geologist and people living on the lava fields of Fogo. “Blink” Daniel Roher, Edmund Stenson USA

When three of their four children are diagnosed with retinitis pigmentosa, a rare, incurable disease that leads to severe visual impairment, the Pelletier family’s world changes forever. In the face of this life-altering news, Edith Lemay, Sébastien Pelletier and their children set out on a trip around the world to experience all its beauty while they still can. As they fill their memories with breathtaking destinations and once-in-a-lifetime encounters, the family’s love, resilience, and unshakeable sense of wonder ensure that their uncertain future does not define their present. “Dahomey”Mati Diop France, Senegal, Benin 

US Premiere Dahomey chronicles the 2021 return of 26 royal treasures to Benin from France, 61 years post-independence. Filmmaker Mati Diop blends observational footage and hybrid techniques to capture this pivotal moment in post-colonial cultural politics. Following the artifacts’ journey from Paris to Benin, the film incorporates the voice of King Gezo’s statue speaking in Fon. Through poetic visuals and debates among Beninese students, Diop explores questions of cultural identity, historical trauma, and colonial redress, offering a multifaceted reflection on whether the looting can ever be repaid. (mg) “Driver” Nesa Azimi USA After losing everything, Desiree Wood takes a second lease on life as a long-haul truck driver. Alongside an irreverent group of women truckers, she fights for a life on the road. “Eastern Anthem” Matthew Wolkow, Jean-Jacques Martinod Canada, USA, Ecuador 

World Premiere An unfinished film is passed along from one friend to another. The dialog between them is a journey crossed by the swarming of the Great Eastern Brood X of periodical cicadas that prophetically emerge every 17 years in the United States, invoking a reflection of a post-pandemic present and our shared futures. A road movie composed of a chorus of voices (both human and non-human), the warnings of history, the power of nature and rebirth. “Eno” Gary Hustwit USA Visionary musician and artist Brian Eno — known for producing David Bowie, U2, Talking Heads, among many others; pioneering the genre of ambient music; and releasing over 40 solo and collaboration albums — reveals his creative processes in this groundbreaking generative documentary: a film that’s different every time it’s shown. “A Fidai Film” Kamal AlJafari Germany, Palestine, Qatar, Brasil, France 

World Premiere The Flamingo is an observational film that follows a woman in her 60s as she pursues sexual exploration, intimate relationships and aging with pleasure. “Homegrown” Michael PremoUSA 

North American Premiere Homegrown is an unflinching chronicle of Americans at war with each other, offering an unprecedented look at right-wing activists as they search for purpose and power – with dire consequences. “I’m Not Everything I Want To Be” Klára Tasovskà Czechia, Slovakia, Austria 

US Premiere After the Soviet invasion of Prague, a young female photographer strives to break free from the constraints of Czechoslovakian normalization and embarks on a wild journey towards freedom, capturing her experiences through thousands of photographs. “Kix” Bálint Révész, Dávid Mikulán Hungary, France, Croatia 

North American Premiere At 8, Sanyi rummages through Budapest’s gritty streets with his skateboard, escaping his cramped-up apartment. As the years go by, some hard lessons are learned but others not so much. As his actions transform from innocent pranks to long-lasting consequences, the country turns its gaze into him, as a symbol of national tragedy. “The Last Republican” Steve Pink USA US Premiere Congressman Adam Kinzinger is the first Republican to hold President Trump accountable for the Jan. 6th Insurrection. It costs him friends, family, and his career. While documenting Adam’s last year in Congress, director/comedian Steve Pink, a far-left progressive, forms a surprising and humorous friendship with his conservative counterpart. “Mistress Dispeller” Elizabeth Lo China, USA 

US Premiere Desperate to save her marriage, a woman in China hires a professional to go undercover and break up her husband’s affair. With strikingly intimate access, Mistress Dispeller follows this unfolding family drama from all corners of a love triangle. “Mother Vera” Cécile Embleton, Alys Tomlinson United Kingdom 

North American Premiere From the thick snow of the Belarusian forest to the heat of the reeds in the French Camargue, Mother Vera is the story of a young Orthodox nun; her turbulent past, and fragile future. “No Other Land” Yuval Abraham, Basel Adra, Hamdan Ballal, Rachel Szor Palestine, Norway 

The alliance between a young Palestinian activist in the occupied West Bank and an Israeli journalist provides a unique and human insight into a decades-old conflict, as the two fight against the forced expulsion of the Masafer Yatta community. A film created by a Palestinian-Israeli collective. “Oasis” Tamara Uribe, Felipe Morgado Chile

North American Premiere After an unprecedented social uprising, Chile chooses to write a New Constitution. A colorful assembly will be in charge of writing down the dreams of dignity and social justice of an entire people. What could go wrong? “Patrice: The Movie” Ted Passon USA 

US Premiere A documentary rom-com about the next phase of marriage equality: disability. “Reas” Lola Arias Argentina, Germany, Switzerland 

US Premiere Yoseli has a tattoo of the Eiffel Tower on her back and has always wanted to travel, but she was arrested at the airport for drug trafficking. Nacho is a trans man who was arrested for swindling and started a rock band in jail. Gentle or rough, blonde or shaved, cis or trans, long-term inmates or newly admitted: in this hybrid musical, they all re-enact their lives in a Buenos Aires prison. “Rising Up At Night (Tongo Saa)” Nelson Makengo Democratic Republic of Congo, Belgium, Germany, Burkina Faso, Qatar Between hope, disappointment and religious faith, Rising up at Night (Tongo Saa) is a subtle and fragmented portrait of a population that, despite its challenges, is sublimated by the beauty of Kinshasa’s nights. “Seeking Mavis Beacon” Jazmin Renée Jones USA The most recognizable woman in technology lives in our collective imagination. Mavis Beacon Teaches Typing taught millions globally, but the software’s Haitian-born cover model vanished decades ago. Two DIY detectives search for the model while posing questions about identity and artificial intelligence. “Soundtrack To A Coup D’etat” Johan Grimonprez | Belgium Amidst the Cold War, jazz icons like Louis Armstrong and Nina Simone become unwitting pawns in a power struggle over Congolese independence. As their music conceals a covert CIA operation leading to Patrice Lumumba’s assassination, they confront their roles in a world where decolonization and political intrigue collide. “The Stimming Pool” The Neurocultures Collective: Sam Chown Ahern, Georgia Bradburn, Benjamin Brown, Robin Elliott-Knowles, Lucy Walker; Steven Eastwood UK 

US Premiere The Stimming Pool, co-created by neurodiverse directors and artist-filmmaker Steven Eastwood, follows diverse characters navigating environments through an autistic lens, striving to find space in a world free from societal norms. “Two Strangers Trying Not To Kill Each Other” Jacob Perlmutter, Manon Ouimet UK, Denmark,

USA North American Premiere Life, death and making meaning are the heart of a beautiful and often very funny film about Maggie Barrett and Joel Meyerowitz, an aging artist couple who, after an accident, face the inevitability of impermanence and seek a deep peace in their relationship while they still can. “Union” Stephen Maing & Brett Storey USA The Amazon Labor Union (ALU) — a group of current and former Amazon workers in New York City’s Staten Island — takes on one of the world’s largest and most powerful companies in the fight to unionize. Chronicling the historic efforts of the ALU, Union is an intimate and surprising story of dogged determination, unorthodox tactics, and speaking up despite David vs. Goliath odds. “Welcome Interplanetary And Sidereal Space Conquerors (Bienvenidos Conquistadores Interplanetarios Y Del Espacio Sidereal)” Andrés Jurado Colombia, Portugal 

US Premiere Astronauts lost in the Darien are surprised by an indigenous person, did they think they were going to be eaten by a wild cannibal? A deconstruction of propaganda archives from tropical survival training challenges the colonial narrative inscribed in the conquest of space. “The White House Effect” Bonni Cohen, Jonathan Shenk, Pedro Kos USA 

US Premiere Moving between earth and stars, past and present, this rollicking hybrid documentary follows the extraordinary life of Wilfred Buck, a charismatic and irreverent Cree Elder who overcame a harrowing history by reclaiming ancestral star knowledge and ceremony. “Will & Harper” Josh Greenbaum USA When Will Ferrell finds out his close friend of 30 years is coming out as a trans woman, the two decide to embark on a cross-country road trip to process this new stage of their relationship in an intimate portrait of friendship, transition, and America. A Netflix release “Yintah” Jennifer Wickham, Brenda Michell, Michael Toledano Canada 

Yintah, meaning “land”, is a feature-length documentary on the Wet’suwet’en nation’s fight for sovereignty. Spanning more than a decade, the film follows Howilhkat Freda Huson and Sleydo’ Molly Wickham as their nation reoccupies and protects their ancestral lands from several of the largest fossil fuel companies on earth. Shorts A Body Called Life | Spencer MacDonald | USA, Switzerland, Poland Adura Baba Mi | Juliana O. Kasumu | Nigeria, Jamaica, United Kingdom | World Premiere Bisagras | Luis Arnías | USA, Senegal, Brazil The Comeback Mill | Josh Gerritsen | USA Contractions | Lynne Sachs | USA Diary Of A Sky | Lawrence Abu Hamdan | Lebanon | North American Premiere Dull Spots Of Greenish Colours | Sasha Svirsky | Germany | North American Premiere An Extraordinary Place | Tom Bell | USA Familia | Picho García, Gabriela Pena | Chile Four Holes | Daniela Muñoz Barroso | Cuba, France The Great Big Nothingness: Conversations with Creators | Chase Overland | USA | World Premier Heritable | Eli Kao | USA History Is Written At Night | Alejandro Alonso | Cuba, France Meditations On Silence | Sebastián Quiroz | Chile | International Premiere Motorcycle Mary | Haley Watson | USA One Night At Babes | Angelo Madsen Minax | USA Perfectly A Strangeness | Alison McAlpine | Canada | US Premiere Take me to the Ocean | Elena Mozzhelina | USA The Tengu Club | Hilary Hutcheson, Britton Caillouette | USA | World Premiere Through The Storm | Charles Frank, Fritz Bitsoie | USA Two Refusals (Would We Recognize Ourselves Unbroken?) | Suneil Sanzgiri | India, Portugal, USA Waldo County Woodshed | Julia Dunlavey | USA You Can’t Get What You Want But You Can Get Me | Samira Elagoz, Z Walsh | Netherlands, Finland

More from Variety

Cate Blanchett Sets London Stage Return With Chekhov’s ‘The Seagull’

‘Existential Threat’ of AI Central to Animation Guild Negotiations

Telluride Festival Lineup Includes ‘Nickel Boys,’ ‘The Piano Lesson’ and ‘Saturday Night’ With Tributes for Jacques Audiard and Saoirse Ronan

Life After ‘Deadpool’: Summer Movies Resurrection Begs Rethink of Long-Term Box Office Outlook

More from our brands, how to watch college football games online without cable.

Six Senses Are Suddenly Everywhere. Inside the Luxury Resort’s Growing Global Empire.

Headset Insurance: Aflac Can Duck Out of CU Deal If Deion Departs

The Best Loofahs and Body Scrubbers, According to Dermatologists

Big Brother Eviction Recap: Did Season 26 Lose One of Its Scene Stealers?

We have had a hardware incident with the servers and are bringing back the services, sorry and thank you for your patience.

Your browser has JavaScript disabled. This website requires JavaScript to function properly. Please turn on JavaScript or get in touch with support

• Film festival
• Rules & Awards
• Sections & Fees (2)
• Submit  

FRONTEIRA - INTERNATIONAL DOCUMENTARY AND EXPERIMENTAL FILM FESTIVAL (0)

FRONTEIRA - International Documentary and Experimental Film Festival

26 Oct 2017 Call for entries

03 Nov 2017 Festival closed

22 Mar 2018 Notification date

12 Apr 2018 21 Apr 2018

10,  74120020, Goiânia, Goiás, Brazil Web --> Email -->

Festival start: 12 April 2018      Festival end: 21 April 2018

FRONTEIRA - International Documentary and Experimental Film Festival is a hybrid and expanded broadcasting platform , training , creation and reflection of the diversity of audiovisual forms nowadays. It is a film festival in the city of Goiânia , state of Goiás , which , with a free program , believes itself, in the limit, as a social and artistic intervention in an urban environment . As an international film festival, Fronteira seeks to intervene in the dissemination of the film experience today, taking it as an experience of freedom, opportunity, power and becoming, to some extent, acting as a counter-flow to the processes of hardening of relations between expression and market, art and industry, and consumer freedom. Thus, seeking an encounter with whatever is on the border of cinema (whether of language, geographic, political and social boundaries), the Festival holds annually an international competitive exhibition for films produced in any format, theme or duration, seeking to interact and confront the inumerable ways, possibilities and visions proposed by cinema held today around the world . It is the attempt to bring together all those movies that stands above all on the edge of the world and life. Since it's first edition Fronteira have exhibited films from the greatest filmmakers form avangarde film, including all forms and genres of cinema. Retrospectives from Harun Farocki, Andrea Tonacci, Abigail Child, Rui Simões, Khavn de la Cruz, Travis Wilkerson, Bruce Baillie, Sylvain George, Gianikian e Ricci Luchi, Rita Azevedo Gomes, Vincent Carelli, and many others. It has also been helding some world, latin and brazilian premieres of films from all the globe.

SHORTS Best Film - official jury Special Prize - official jury Award best film from audience jury

FRONTEIRA – INTERNATIONAL DOCUMENTARY AND EXPERIMENTAL FILM FESTIVAL 2018 REGULATION 1. GENERAL RULES / INTRODUCTION 1.1 FRONTEIRA has as its objective the diffusion and reflection of documentaries, experimental films and all those films that defy the limits of genre and propose new manners of perception and apprehension of the world, understanding cinema as a political and artistic practice. 1.2 FRONTEIRA’s fourth edition wil be held in Goiânia, Goiás, Brazil from abril 12 to 21, 2018, helding the main retrospective, competition sections, special screenings, Filmmaker on Border Programme, Cadmo and the Dragon section, within debates, masterclasses and workshops. 2. SUBMISSIONS 2.1 Film submissions shall be registered at www.fronteirafestival.com using the entry form, between October 26, 2017 and January 04, 2018. 2.2 The International Competition for Shorts will accept films with a maximum of 59 minutes of duration and the International Competition for Features, films with a minimum of 60 minutes of duration. 2.3 National and international films compete in the International Competition for short and feature films. 2.4 The films must have been produced after January 2017. 2.5 Each filmmaker can submit as many films as wanted, as long as they are in accordance with the Festival regulations. 2.6 All films shall be sent using private links for visualization on Vimeo, with their passwords, available for download until January 04, 2018. 2.7 Films not spoken in Portuguese shall be sent with subtitles in English or Portuguese. 2.6 For submissions, work-in-progress version of the films will be accepted. 2.7 There will be no submission charges. 3. SELECTION 3.1 All works will be submitted to a preliminary selection, under the responsibility of a curatorship commission in charge of choosing the films for the Short and Feature Films International Competition. 3.2 Submitted films may participate on non-competitive sessions, within the Festival programme. 3.3 The official selection of the In Competitive Sections will be presented on march 16, 2018, which might be extended according to the criteria of the Festival’s organization. 3.4 The selected films should send their exhibition copies and other materials (poster, postcards, presskit, etc.) until March 05, 2018. 3.5 Those responsible for the selected films produced in foreign language must send the exhibition copy subtitled in English or Portuguese, and send separately subtitles in .srt or .html(FCP) format, in English or Portuguese, until March 05, 2018. 3.6 Filmmakers with selected films must forward the technical details, synopsis and photos of the film via e-mail to the Festival production until ferbuary 20, 2018. In case this information is not sent until that date, the Festival may look for information elsewhere. 4. AWARDS 4.1 The Fronteira Award will be given to the following categories: Feature Film Best Film-Official Jury. Special Jury Prize - Official Jury Best Film – Popular Jury. Short Film Best Film -Official Jury. Special Jury Prize - Official Jury. Best Film - Popular Jury. 4.2 Honourable Mentions will happen at the discretion of the juries. 4.3 The organization may distribute awards from partners and sponsors. This information will be available on the website in the near future. 4.4 There will be no cash or goods distributed to awarded films. 5. FINAL DISPOSITIONS 5.1 The filmmaker states in this document, for selection purposes, that they hold dues to submit and authorize the exhibition of the work, being the only and exclusive responsible for the regulation of the copyrights and related rights, image rights, industrial property rights and computer program rights, concerning intellectual works of any nature, artistic interpretations, musical interpretations and performances, as well as images, included or synchronized in the film(s) presented, exempting the Festival of any claims arising in that manner. 5.2 If there are third-party questionings about the exhibition rights of the work by the Festival, the filmmaker agrees to provide the Festival with the assistance necessary to ratify and ensure the exhibition rights granted by this regulation. 5.3 Once submitted and selected, the films cannot be withdrawn from the programme of the festival. 5.4 The members of the jury are forbidden to submit their works to the festival, including their spouses or partners in stable relationships, ascendants, descendants and relatives, by blood or the like, to the second degree of kinship. 5.5 The Festival organization is not responsible for devolutions, losses and other expenses arising from sending submission materials. 5.6 By submitting the work(s) to the Festival, the proponent exempts the festival from the payment of fees and other charges referring to their exhibition rights. 5.7 The Festival reserves the right, whenever necessary, to extract frames from the films or images it has access to, to use in the catalogue and other promotional material of the Festival. 5.8 By submitting to the Festival, the filmmaker will make the trailer of the work available, when there is one, or will authorize the edition of an extract of up to 2 minutes of the film for promotion purposes on the website and in TV programs about the festival. 5.9 The filmmaker will receive a message, through electronic mail, confirming their submission in two working days. If the filmmaker does not receive this confirmation, they shall contact the production through the addresses in the end of this regulation. 5.10 The Festival will not withdraw any material, film or document from the Post Office, presenting payments or reimbursement of devolution, as well as it will not make any reimbursement or postage indenisation of the submission copies. 5.11 The cases not covered herein will be solved by the organization of the Festival, which will manifest itself on the issue. 5.12 The submission of the film implies full knowledge and acceptance of every item of the present regulation. 5.13 The present regulation shall enter into force on the date of its publication. Goiania, October 26, 2018

Submissions deadline 03 Nov 17

Discover great films & festivals, one click away

Copyright 2012-2024

All Rights Reserved

IV Fronteira Festival reveals the number of films submitted

Publicado em 15/01/2018

Official Selection of Competitive Exhibitions will be disclosed until March 5th.

In its fourth year, Fronteira – International Documentary and Experimental Film Festival received a record number of subscriptions. Between October 26 and January 4, 3.118 productions were submitted, from exactly 100 countries of all continents. Of this total, 2755 are short films and 363 are feature films. This number exceeds by more than 400% the subscriptions of the previous edition: 701 films. The number of countries participating in this process also increased significantly. In 2017, there were 56 countries while, this year, there were subscriptions from 100 countries.

As for the genre, the largest number of subscriptions was documentaries: 1621. Then come the experimental films, 935; followed by 498 fiction films and 64 animations. Brazil is the country with the highest number of film subscriptions with a total of 779 films, between long and short films. Amongst the Brazilian works, 48 films are productions made in the State of Goiás. 

The selection committee of the Competitive Exhibitions of the IV Fronteira is formed by the cultural producer and Curator Camilla Margarida, the researcher and critic of Cinema Dalila Martins, the professor, critic of Cinema and programmer Marcelo Ribeiro, the programmer, critic and researcher of Cinema Rafael Parrode and the cultural producer, musician and film director Ricardo Roqueto.

The official selection of the Competitive Exhibitions will be announced until the 5th March. The IV Fronteira Festival happens between the 12th and 21st of April in Goiânia, Goiás. The event is produced by BarrocaFilmes and sponsored by the State Fund for Art and Culture of Goiás.