In this life we have encounters and disagreements. The Internet has turned everything upside down and for those who are smart to get closer to idols or moviegoers who would never have the chance to know their thoughts if the distance between the two points did not exist, as is currently the case on Internet planet. Sharing fun facts about moviegoers is a great exercise that all of us moviegoers love to experience. This special comes precisely to present worlds different from yours, but always with a great love for cinema like yours.
Our guest today is a filmmaker and a movie buff! Cristiano Requião, film professional for over 40 years, has worked on eleven feature films as assistant director and director of photography, in addition to directing hundreds of corporate films. For ten years, he worked in a University Center in the courses of Communication and Advertising and Advertising. He returned to commercial cinema in 2009 and until today he has directed, scripted and photographed seven short films and the feature films Outra Olhar and Morrer de Amor.
1) In your city, what is your favorite movie theater in relation to the programming? Detail the reason for the choice.
Cine Joia and the Estação cinemas in Botafogo, both. They are stepping outside the scope of purely commercial films, presenting a greater variety of genres and styles.
2) What is the first movie that you remember seeing and thinking: the cinema is a different place.
It’s been many years … But I remember a French film that marked my adolescence. It’s called Os Aventureiros, by Robert Enrico with Alain Delon and Lino Ventura. In this film, I decided that I wanted to work in the cinema. Not for the story, but for the ability of a film to generate emotions.
3) Who is your favorite director and his favorite movie?
Jacques Audiard and Sur mes Lèvres 2001 with an actress whom I consider to be one of the greatest, Emmanuelle Devos.
4) What is your favorite national film and why?
Sganzerla’s Red Light Bandit. A film made in the grip and with an incredible story exploring, at the time, different languages.
5) What does being a cinephile mean to you?
This is who loves and studies cinema.
6) Do you think that most of the theaters you know have programming made by people who understand cinema?
I can not tell. I see fantastic successes and terrible mistakes. From the smaller theaters with their close owners, the outcome has been better.
7) Will cinemas ever end?
I’m afraid this will happen, but I don’t believe it. There are films that are made and must be watched in theaters. Hopefully independent cinemas stay, mainly.
8) Name a movie that you think many haven’t seen but it’s awesome.
The heist of Caito Ortiz’s cup. So that moviegoers and non-moviegoers alike can be sure that commercial films can be filled with content, be fun and curious.
9) Do you think theaters should reopen before having a vaccine against covid-19?
If I were a biologist or an infectious disease specialist, I could answer.
10) How do you see the quality of Brazilian cinema today?
Quality is a misnomer, in my opinion. It can mean something very finite and empty. Brazilian cinema has excellent films in a certain production format which unfortunately does not reach all directors.
11) Tell the Brazilian artist that you don’t miss a movie.
With some disappointments, Júlio Andrade.
12) Define cinema with a sentence:
A double-edged political tool.
13) Tell an unusual story that you witnessed in a movie theater:
Pedro Mico’s debut at former Ricamar in the Copa. There was no audience, no guests, only a few showed up. So that the session was not empty, we, the team, went to the street to ask people to come for free. I don’t even remember the press there. Volunteer audience in the audience below and in the team and rotating actors. All it took was the appearance of the most erotic scenes between Pelé and Tereza Raquel to make a boo, accompanied by observations on the performance on stage. After that, most of the people left.
14) Define ‘Cinderella Baiana’ in a few words …
A pretentious attempt to make cinema bet on the fame of an actress. A laughable movie.
15) Many directors are not movie buffs. Do you think that in order to make a film, a filmmaker has to be a cinephile?
I think it helps a lot. What we put on the screen is an MMC of what we have seen and experienced. Cinematographic grammar is the tool. The more films there are, once selected, the more our lexicon is refined.
16) What’s the worst movie you’ve seen in your life?
I wouldn’t know what to answer, because I also couldn’t indicate the best.
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