“Cinema is a divine way of telling the story of life. With this phrase from Federico Fellini, we started another edition of our chronicle from movie buff to movie buff: What’s new, dear movie buff ?!
Every week, we put interviews and curiosities of lovers of the seventh art across Brazil. Cinema enthusiasts who devote part of their daily time to loving the seventh art. In today’s column we interview one of the most fantastic minds when we think about the different spheres of audiovisual, our guest is a great scholar of the film exhibition and also one of the great cinephiles of this huge country. Guilherme Tristão, whom I affectionately call “ master ” is one of the program coordinators for several editions of the Rio Film Festival, deputy director of the Centro de Artes (Ceart) at UFF, coordinator of the Film Festival Brazilian university, held annually in Rio de Janeiro, besides dozens of other projects, it participates annually in the national audiovisual market. Owner of a special mood, I remember with great fondness the countless conversations about films in the elegant tables of one of the most beautiful cinemas in Brazil: La Reserva Cultural Niterói.
1) In your city, what is your favorite cinema compared to the programming? Detail the reason for the choice.
CINE ARTE UFF – a decidedly alternative cinema, and only there you can watch films that will not be shown elsewhere, in particular artisanal and / or copyrighted Brazilians.
2) What’s the first movie that you remember seeing and thinking: the cinema is a different place.
The first thing that brought me this fascination was The Disordely Ordely, by and with Jerry Lewis, of which I became a fan.
3) Who is your favorite director and his favorite movie?
Federico Fellini / Roma. But my favorite movie is It’s a Wonderful Life by Frank Capra.
4) What is your favorite national film and why?
Earth to Trance. Crazy, incredible, politically complex and current scenes.
5) What does being a movie buff mean to you?
Have an intense curiosity for any type of film that seems to have a minimum of quality.
6) Do you think that most of the theaters you know have programs made by people who understand cinema?
Well, it depends on what you mean by “understanding cinema”: I think there are programmers who understand what is popular; others understand what makes people move; others are exceptional films; others who understand what more sophisticated films are; there are still those who know the history of cinema, the great classics and the directors. Depending on the purpose of a particular room, programmers may or may not meet these goals. I think most of the venues I know have people suited to their profile.
7) Will cinemas ever end?
I find this virtually impossible, especially if HOLLYWOOD continues to exist, with its marketing and constant technological innovation.
8) Indicate a movie that you think many haven’t seen but which is great.
Answer, without thinking too much: Cabaré Biblioteque Pascal (Bibliotèque Pascal), by Szabolcs Hadju. I recently saw an obscure Russian film (I think!) Which I loved: A Russian Youth, by Alexandre Zolotukhin (disciple of Sukourov).
9) Do you think theaters should reopen before we have a vaccine for covid-19?
No, in particular, I will not open before. If the deaths in the state drop below 5 per month, I will think so! But I really like STREAMING !!!
10) How do you see the quality of Brazilian cinema today?
The big highlight (it seems fashionable, but it is not) is the diversity of the proposals. However, I miss more interesting films for the middle class, commercial productions, of better quality, with better done scripts, like What Hours Does She Come Back ?, Kiss on the Asphalt (new version), The Movie of My Life … Films that avoid formulas or clichés.
11) Tell the Brazilian artist that you don’t miss a movie.
Strictly speaking, I don’t have this type of artist in Brazil, but I was VERY curious about Sérgio Bianchi’s films and today I am curious about Esmir Filho’s films, but I have not liked his last feature film (Alguma Coisa Assim).
12) Define cinema with a sentence:
Audiovisual “show” for the general public.
13) Tell an unusual story that you witnessed in a movie theater.
When we saw Terremoto (1974) in Roxy’s SENSURROUND system, at the time of the premiere, there was a flaw in the sound system in one of the still scenes of the film: a very loud and loud BUM, coming from the right rear of the cinema. Sensurround was a system with such a low sound that you not only “heard” it, but also felt the deep vibrations of the sound in your body. Just as this accidental BUM continued, half of the cinema went nuts without knowing what to do. Then the laughter was general and the general excitement increased!
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