The Paraná-based production company Gesto de Cinemais having a retrospective of its work.
The 11thCineBH International Film Festival is paying a tribute to the Paraná-based production company Gesto de Cinema. Composed of the producers and filmmakers Caio Baú and Isabele Orengo, the session presents five shorts bya companythat believes in this format as a field for film investigation and personal engagement of their members.
Paying a tribute to a short film production company, seeing its work as whole, means bringing visibility to this kind of film company that gives short shrift to the feature film industry logic. Our interest is to think about the aesthetic lines that move this set of films, united by the same producer’s banner. We can contemplate a formal and thematic continuity within the works of the greatest Brazilian and world’s producers, which, in the short format perspective, reveals to be somewhat harder. To overcome this difficulty, we dedicate this session to Gesto de Cinema’s films, showing thatthe unique work of short films is also a consequence of proactive producers.
Gesto de Cinema stands out for having an ongoing dialoguewith issues related to young audiences, some of them outspokenly embraced. Short film filmmakers and producers have a privileged space to speak, undertaking projects of this nature, for they already have the mastery of film technique and language, and also keep fresh in the memory experiences lived during this stage of life. Besides that, Gesto de Cinema’s films are directly engaged in issues that affect social and gender minorities, suggesting an interesting encounter between entertaining and socially engaged films.
The session begins by openly going into theses issues. Pai aos 15, by Danilo Custódio, is a honest reflection about the adult responsibilities that may come too early and how to deal with them. Through the fondness between a boy and his younger brother, the filmmaker reveals his skills of both filming the sunny side of youth (skateboard, encounters, dating) and a more grown-up side (the affirmation of a place of responsibility that is forced to the main character).
Pavão sem Cores, by Isabele Orengo, is the only film in the session that escapes from this dimension to speak openly with a young audience. The film, with an experimental slant, creates a fiction around works from the director’s personal history and the memories she kept of her missing grandfather. Another recurring topic in Gesto de Cinema’s films is the director’s personal involvement with the subjects discussed, showing the porosity between artistic expression and personal life.
Using ephemerality and continuing with the inclinationof portrayingthe beginning of the adult life, Paixão Nacional, by Jandyr Santin, shows the encounter of two worlds: a German women who came to Brazil for the World Cup and a young man from the outskirts of Curitiba. Talking about segregation between the rich and the poor, the fiction is thrifty with words and dilates its climax to represent the uneasiness of a country that has spent millions to host a world event, but can’t integrate the different layers of society.
Directed by Igor Urban, O Mundo Estratifica, o Corpo se Desloca, a poetic and suggestive title for a documentary about drag queens, between the political and the festive, the film accumulates excerpts of concerts and interviews of these characters who live between dream and marginality.The film tackles the theme without victimism, but it states clearly the socio-political importance of these body creations.
The session ends with Gesto de Cinema’s most recent film, the docufiction Luiza, by Caio Baú. The director films his disabled sister in day-to-day situations involving their family. More than an observational documentary, Luiza is a film engaged by affection; it dares to talk about the sexuality of teenagers and, foremost, of a young couple, without seeming necessarilyoverprotective or, on the contrary, exhibitionist. The precise tone of Luizasums up the attitude of Gesto de Cinema’s directors: being personal and, through both democratic and refined ways, managing to discuss with socioethnic groups and sexual minorities.
Pedro Maciel Guimarães