Resumo Este artigo analisa como o Diário 1973- 1983, de David Perlov, tece-se em um duplo movimento de recusa e libertação. Com base na análise de alguns signos opacos que se repetem ao longo do filme — fotos sem legendas, nomes sem corpo — e ressaltando as hesitações e oscilações do cineasta na narração, no modo de filmar ou enquadrar, propomos pensar o Diário como um processo de aprendizado e de desapego de dois territórios de origem: a tradição do cinema moderno e o país natal, o Brasil.
Patrícia Mourão de Andrade offers an impassioned portrait of the actress and filmmaker Helena Ignez, a foundational figure in Brazilian filmmaking of the 1960s and 1970s. Long ignored by a national historiography blinded by its own patriarchal distortions, Ignez has only gained recognition in the last fifteen years for her contributions to Brazilian cinema. Moving behind the camera for the first time in 2005, Ignez has created a body of work that brings the anarchic spirit of the Cinema Marginal movement of the late 1960s to Brazilian cinema of the 2000s. This article offers a comprehensive survey and assessment of Ignez’s career, from her first film, O pátio (1959), directed by Glauber Rocha, who became her first husband, to her memorable performances of the 1960s, to her years of political exile, to her recent, late renaissance.
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