Festival do Rio returns with the support of Mayor Eduardo Paes

As Rio de Janeiro emerges from the global pandemic, 9 December 2021, saw the return of its premiere annual film event with the opening of the 23rd Festival do Rio, Rio International Film Festival with the Brazilian premiere of Pedro Almodóvar’s Parallel Mothers. Festival do Rio returns this year with the full support of the Mayor and city of Rio de Janeiro, as well as live audiences

“Our mission,” the Mayor of Rio de Janeiro, Eduardo Paes, explains “is to re-build Rio’s role in the audiovisual sector and strengthen the sector with investment, which we have already started to do. Rio as a city depends a lot on culture, as it helps to build the history and identity of our city and our people. Festival do Rio is one of the pillars of our renaissance on both the national and world stage.”

From 9 to 19 December 2021 the cinema going public in Rio de Janeiro has the opportunity to see both international and domestic Brazilian films. They include award-winners, some of the years most talked about and commented on productions, and rarities from the archives. The public also get to participate in debates, special sessions and lectures.

Navigating its way back after an absent year, this year’s edition is a compact  one, with 25 centre-pieces with sights on returning to a full-length edition in 2022 and new banner sponsors.

Première Brasil remains one of the most anticipated and popular sections of the festival, and the main competitive section that offers an important shop window for Brazilian cinema both internationally and domestically. Première Brasil also gives the audiences in Rio the chance to see the films and then meet and talk with the filmmakers and actors. The public also votes for the best film in the categories of fiction, documentary and short, while an official jury awards the festival’s Redentor trophy across a diverse range of categories from the films in official competition. In total 71 Brazilian films drawn from features  and shorts will screen across Rio in the Première Brasil section during the festival

 

“This year’s selection,” says festival director Ilda Santiago,”shows a strong Brazilian cinema, full of reflection which, despite far from ideal conditions, is ready to reclaim its place with the cinema going public.”

Among international highlights this year are Joe Wright’s Cyrano and Kenneth Branagh’s Belfast, both of which are receiving their Brazilian premieres. Also screening are this year’s Palme d’Or winner, Julia Ducournau’s Titanealong with Céline Sciamma’s Petite Maman; Radu Jude’s winner of Berlin’s Golden Bear, Bad Luck Banging or Loony Porn; Apichatpong Weerasethakul MemoriaPaul Verhoeven’s Benedetta; Andrea Arnold’s Cow; Nanni Moretti’s Three Floors; and Woody Allen’s most recent offering, Rifkin’s Festival, that premiered during the recent San Sebastian Film Festival.

Brazilian directors with films screening during Festival do Rio include Júlio Bressane, Karim Aïnouz, Bruno Barreto, Luiz Carlos Lacerda, Walter Salles and Daniela Thomas, Luiz Carlos Lacerda, Murilo Salles, Laís Bodanzky, and many others.

The work of Hong Kong director Wong Kar Wai will be in the spotlight with the screening of five of the director’s most acclaimed films that have been restored by the director in partnership with MUBI. The festival also celebrates the 70th anniversary of the French film magazine “Cahiers du Cinéma” with the screening of some classic French works from Louis Malle, Robert Bresson, Chris Marker, Eric Rohmer, René Laloux, Jacques Rivette, Jean-Luc Godard and Costa-Gavras, as well as an exhibition of the magazine.

Brazilian Film Box Office in 2019

Back in November 2018 panellists at Festival do Rio’s RioMarket were unanimously optimistic about the state of the Brazilian theatrical film market for 2019, after what all agreed had been a difficult year in 2018 for distribution, exhibition and getting “bums on seats”.

It turns out those panelists had a right to be optimistic. Ticket sales increased from 163.4 million in 2018 to 172.2 million in 2019, with 19.7 million of those being for “Avengers: Endgame”. Revenues in reais (the Brazilian currency) hit the historic high of R$2.74 billion in 2019, up 13% from 2.42 billion in 2018 and beating the previous high of R$2.7 billion in 2017. The year also saw the opening of another 174 screens, taking the total to 3,505. Another record.

Domestic Brazilian titles were responsible for 11.5% of that revenue in 2019, or R$315m, up 13% from R$279m in 2018, but actual ticket sales for Brazilian films were down 1.2% from 22.9m tickets in 2018 to 22.6m in 2019, with 2.5 million of those, or nearly 10%, sold in the final week of 2019 thanks to the comedy “Minha Mãe É Uma Peça 3” (My Mom is a Character 3). 327 Brazilian titles were released in 2019, down 11% from 367 in 2018, while international titles released in 2019 were 560, down 1.7% from 570 in 2018.

For nearly a decade, up to 2017, Brazil’s theatrical market had experienced growth. It had to stop at some point, so after eight consecutive years of increased ticket sales and revenues, 2017 became the year of no growth in Brazil, but the numbers were still very strong. 2018 was to see a further decline in ticket sales, and the first decline in 12 years in box office revenues in the local currency. But head offices in the US were still not complaining about the results they were seeing from Brazil, still one of the world’s largest cinema going markets.

Cinema admissions in Brazil had now gone from 89.1 million in 2008 to 112.7m in 2009; 134.9m in 2010; 143.2m in 2011; 146.6m in 2012, the year Brazil hosted the World Cup; 149.5m in 2013; 155.6m in 2014; 173m in 2015, to the record breaking 184.3 million in 2016, surprisingly the year of the Rio Olympics. In 2017, no record, but still the very respectable sales of 181 million ticket were achieved, a drop of just 1.5%, compared with 2016, but still the second best year on record, before the drop of 10.1% to 163.4m in 2018, but now an increase of 7.6% to 172.2m ticket sales in 2019.

The strength and volatility of the US dollar against the Brazilian real has meant dollar values were down in 2019. 2017’s gross had represented US$749.7 million at the time, up from US$726m in 2016 and just US$486m in 2015, while 2018’s dollar revenues were down to US$630m, and 2019’s box office is estimated to have been worth around US$594 million. But if exchange rates worked against them, the studios should still be happy with the number of “bums on seats”.

In 2018 factors contributing to what was seen as a disappointing year for ticket sales and revenues for the big screen in Brazil included the World Cup, the Brazilian Presidential Elections, and a truckers strike that almost brought Brazil to a halt for two weeks. Panellists at Rio Market also mentioned a disappointing line up of both domestic and international titles that had failed to find or excite an audience in Brazil. In fact 2018 was generally very sluggish in Brazil with only 127 million tickets having been sold up until the end of September, mainly thanks to the April release of “Avengers: Infinity War”, before the market showed signs of recovery in October and early November thanks to “A Star is Born”, “Venom”, “Bohemian Rhapsody” and “Fantastic Beasts: The Crimes of Grindelwald”, and in December “Aquaman”.

Panellists at RioMarket were particularly encouraged by “A Star is Born” and “Bohemian Rhapsody” because these two films did not fill the normal blockbuster form of an established franchise or action character. All panellists, however, noted that both for international and domestic Brazilian releases, it was around the top ten to 15 releases that did really well, with the other 400+ titles struggling and offering a lot of room for improvement.

2019’s box office, however, was firmly dominated again by established franchises or action characters with “Avengers: Endgame” becoming the most watched film of all time in Brazil with sales of 19.2 million tickets, and Disney’s “The Lion King” selling 15.8 million to make it the third most watched of all time after “Titanic” in 1998. “Avengers: Infinity War” is fourth on the list

The average occupancy rates of the 3,500 screens in Brazil, the majority in multiplexes and over 30% of them in the state of São Paulo and 11% in Rio, has been running at around 18-19%, yet capacity is a problem in Brazil whenever a major blockbuster, like “Avengers” is released. There is no question that Brazil is under screened with just one screen for every 62,293 people, compared with 8,123 in the US or 15,253 for the UK.

The expansion of screens in Brazil, now back to the levels of the 1970s, also slowed in 2018 and 2019 and this has been put down to the economic climate in Brazil that saw a slowing in the expansion of shopping centres where new screens would be located. Shopping Centre screens are also the most successful in Brazil in terms of revenues and tickets sales. Having said that, 174 screen did open in 2019 (44 closed), taking the total of screens past the 3,500 mark. Since 2017 it is estimated that 434 new screens have come online, with 350 of those in the interior of the country and just 84 in the main cities.

In 2019 six cinema complexes in Brazil sold more than one million tickets in the year, those being UCI NYCC (Rio de Janeiro); Cinemark Guarulhos (São Paulo); UCI Kinoplex Norte Shopping (Rio de Janeiro); Kinoplex Dom Pedro (Campinas); Cinemark Aricanduva (São Paulo); and UCI Kinoplex Shopping Iguatemi (Fortaleza). Rio de Janeiro remains the state with the highest market share for domestic Brazilian releases.

Top 20 grossing films of the year in Brazil in 2019

  1. Avengers: Endgame (US$85.7 million from tickets sales of 19.2 million)
  2. The Lion King (US$69.5m / 15.8m)
  3. Captain Marvel (US$38.1m / 8.8m)
  4. Joker (US$38.1m / 9.4m)
  5. Toy Story 4 (US$32.7m / 7.8m)
  6. Spider Man: Far From Home (US$28.3 / 6.4m)
  7. Maleficent: Mistress of Evil (US$22.3m/ 5.6m)
  8. Aladdin (US$19.9m / 4.7m)
  9. Minha Vida em Marte (US$17.5m / 4.3m) *
  10. Ralph Breaks the Internet (US$17.3m / 4.3m)
  11. How To Train Your Dragon: The Hidden World (US$14.4m / 3.8m)
  12. Nada a Perder 2(Nothing To Lose 2 – US$13.7m / 5.2m) *
  13. Aquaman (US$12.4m 2.9m)
  14. Shazam! (US$12m / 2.9m)
  15. Fast & Furious Presents: Hobbs & Shaw (US$10.2 / 2.7m)
  16. Minha Mãe É Uma Peça 3 (My Mom is a Character 2 – US$7.6m / 2.6m) *
  17. Dumbo (US$7.6m / 1.8m)
  18. Turma da Monica: Laços (Monica’s Gang – US$7.5m / 2m) *
  19. De Pernas Pro Ar 3 (Head Over Heels 3 – US$7m / 1.8m) *
  20. The Secret Life of Pets (US$7m / 1.9m)

* Domestic Brazilian Release

Top 20 grossing films of the year in Brazil in 2018

  1. Avengers: Infinity War (US$66.7million from tickets sales of 14.5 million)
  2. Incredibles 2 (US$37.5m / 9.8m)
  3. Black Panther (US$35.8m / 7.4m)
  4. Nada a Perder (Nothing To Lose – US$33m / 12.2m) *
  5. Aquaman ($23.2m / 5.6m)
  6. Jumanji: Welcome to the Jungle (US$21.8m / 4.8m)
  7. Jurassic World: Fallen Kingdom (US$20.8m / 5.2m)
  8. The Nun (US$20m / 5.3m)
  9. Fifty Shades Freed (US$19.7m / 4.3m)
  10. Hotel Transylvania 3: Summer Vacation (US$19.5m / 5.4m)
  11. Venom (US$19m / 4.6m)
  12. Deadpool 2 (US$18.8m / 4.6m)
  13. Ferdinand (US$14.4m / 3.4m)
  14. Fantastic Beasts: The Crimes of Grindelwald (US$14.2m / 3.5m)
  15. Bohemian Rhapsody (US$13.3m / 2.9m)
  16. Ant Man and the Wasp (US$13m / 3.2m)
  17. Mission Impossible – Fallout (US$11.8m / 2.5m)
  18. Os Farofeiros (The Beachnickers – US$9.8m / 2.6 m) *
  19. Coco (US$9.4m / 2.6m)
  20. Fala Serio Mãe ( US$9m /  2.4m) *

* Domestic Brazilian Release

Top 20 grossing films of the year in Brazil in 2017

  1. Fast & Furious 8: The Fate of the Furious ( US$41.8m from tickets sales of 8.5 million)
  2. Beauty and the Beast (US$41.5m / 8.3m);
  3. Despicable Me 3 (US$35.9m / 8.89m, the highest ticket sales of the year);
  4. Justice League (US$35.9m / 8.4m);
  5. Wonder Woman (US$ 33m / 7m);
  6. Spider-Man: Homecoming ($32m /6.7m);
  7. Thor: Ragnarok (US$30.4m / 6.4m)
  8. Logan (US$29.2m / 6.4m);
  9. Minha Mãe É Uma Peça 2 (My Mom is a Character 2 – US$27.9m / 6.5m) *
  10. The Shack (US$23.6m / 5.1m)
  11. Moana (US$22.9m / 5.1m)
  12. Guardians of the Galaxy 2 (US$21m / 4.2m)
  13. Fifty Shades Darker (US$20.3m / 4.6m)
  14. It (US$19.9m / 4.4m)
  15. Pirates of the Caribbean: Dead Men Tell No Tales (US$16.7m /  3.6m)
  16. Star Wars: Episode VIII – The Last Jedi (US$16.1m / 3.1m)
  17. Wonder (US$16.1 / 4.1)
  18. The Boss Baby (US$13.9m / 3.3m)
  19. War of the Planet of the Apes (US$13.4m / 2.7m)
  20. The Mummy (US$13.3m / 3m)

* Domestic Brazilian Release

Critical Divide heads for the Panama Film Festival

casco viejo panama

Christopher Pickard of Critical Divide will be attending the International Film Festival of Panama that runs from 9 to 15 April 2015 and contributing to the Variety e-dailies.

It is the fourth edition of the festival and IFF Panama will screen more than sixty films that have been presented and recognized with awards at prestigious festivals such as Cannes, Toronto, Sundance and San Sebastian among others. IFF Panama will also offer national, regional and world premieres of films from the Central American region.

The festival is mainly located in the capital’s Casco Viejo (Old City), an area that along with the iconic Panama Canal has been boosting the country’s tourist industry.

 

Screen Shot 2015-04-03 at 10.55.14

 

Variety reports on Critical Divide’s activities at Festival do Rio

photo 1

RIO DE JANEIRO — Critical Divide’s Chris Pickard, a veteran not only of Brazil but also of the Rio Fest and RioMarket, has unveiled a bevy of Brazil-based projects under the banner of The Sound of Brazil.

Pickard, who was responsible for the original idea and for co-producing Julien Temple’s “Rio 50 Degrees,” which has screened at the Festival, told Variety he aimed to have most of the slate ready to air in 2016, the year of the Rio Olympics and Paralympic Games. He is hopeful some may even be ready for 2015, when Rio celebrates its 450th anniversary.

The season of music documentaries and performance films is being developed with the BBC in the U.K., and other international broadcast partners. Films look to build on the growing cultural partnership that started to develop between Brazil and the U.K., and especially Rio and London, during the 2012 London Olympics.

With the ever-closer cultures of Brazil, the U.K. and Europe in mind, a first project comprises a three-part series looking at the evolution of musical culture – and dance- in Brazil from the arrival of the first missionaries to the very latest sounds and musical talent. For the U.K. and certain international markets the programs will be presented by Katie Derham, the face of classical music at the BBC as well for the BBC Proms. Derham, like Pickard, has long-standing family ties with Brazil.

Partnering Derham and Pickard in developing the season are James Joseph of Creedence Productions , a highly respected and well-connected music and entertainment lawyer whose management company, with offices in London and Los Angeles, looks after Nina Simone, Cleveland Watkiss, Cassandra Wilson and Julian Joseph, amongst others, and Mark Barrett, ex-head of Classical Music at BBC Worldwide Music and previously Classical Manager Europe at Sony Music Entertainment.

A number of Joseph’s clients have toured Brazil and worked with Brazilian artists in Brazil as well as in the U.S. and Europe. He has also filmed programs and projects in Brazil with Fernando Meirelles and O2 Filmes.

One of those larger projects, which Joseph expects to have wide international appeal, is a special “homecoming” concert in Rio de Janeiro for musician Sergio Mendes. It would include many leading international and Brazilian names that have collaborated with him over the years, including talent featured on the soundtracks of Fox’s animated films “Rio”. There will also be a full standalone documentary about Mendes who was the artist who took Brazilian music global in the 1960s, and is often better known internationally than in his own country and city.

“We hope to stage the concert in 2015 as part of Rio’s 450th anniversary celebrations and then have the programe and documentary ready to broadcast in 2016 which will be the 50th anniversary of the launch of Sergio Mendes, plus Brasil’ 66 by Herb Alpert,” Pickard explained.

Also on the slate is a program about Brazilian baroque music with Harry Christophers and a Brazil Sixteen; a look at the club scene in Rio, São Paulo and Salvador its sounds in “Brazil: Shaken and Stirred…with a Twist of Hackney”; and a docu exploring how musical talent is fostered in Brazil: “From Tin Cans to Strings.”

The most ambitious part of the slate turns, however, on a program series is a series that will introduce and showcase Rio’s Carnival parade by parachuting six major international names into the city’s iconic event to mirror certain elements of the parade.

Pickard first developed the project with the late Gus Dudgeon, Elton John’s producer for many years, who realized there was no accessible TV title to capture a larger audience and explain what actually happens in artistic terms with the parade. As Dudgeon noted, Carnival is more spectacular than any rock show he had seen, even Elton’s.

“I have been involved with carnival for over 30 years – so I have form in this department,” Pickard says.

“It is now a question of getting our final ducks in a row before more details can be unveiled as it requires a somewhat complex relationship of working not only with the Mayor’s office in Rio, but also the League of Samba Schools and TV Globo that so brilliantly film the parade to broadcast live over two nights to Brazil.

He added: “This program, I can promise, will help open the eyes of the world to what an astonishing and creative event the parade is. Our stars are also going to have a lot of fun along the way and they will be the catalyst to build a large global TV audience.”

If Pickard and the team can get everything to align, they will look to film during carnival 2016 and have the edited shows ready for broadcast prior to the Rio Olympics that open on Aug 5 2016.

Pickard held meetings related to the project while at the Rio Festival.

Festival do Rio sets its dates for 2013

5022500155_18191e7c63_o

Festival do Rio, Rio de Janeiro’s international film festival, will take place between Thursday 26 September and Thursday, 10 October in 2013. It will be the festival’s 15th anniversary.

The festival will screen around 400 films from more than 60 countries at 30 venues spread across Rio de Janeiro.

Brazilian films and Première Brasil, which has as its festival home the historic Odeon Petrobras (photo) in downtown Rio de Janeiro, are the beating heart of Festival do Rio, and the festival is rightfully acknowledged as the best annual global showcase of contemporary Brazilian film.

Première Brasil is the only competitive section of Festival do Rio with jury awards to be presented on Thursday 10 October. Three highly prized audience awards will also be bestowed on the best Brazilian feature film, best documentary and best short film.

You can follow the festival on Twitter @RioFilmFest

Festival do Rio Web Site

Festival do Rio on Facebook

Cannes Festival Lineup 2013

2013 CANNES FILM FESTIVAL LINEUP

 OPENING FILM

  • “The Great Gatsby” (Baz Luhrmann)

 COMPETITION

  • “Behind the Candelabra” (Steven Soderbergh)
  • “Borgman” (Alex van Warmerdam)
  • “The Great Beauty” [La Grande Bellezza] (Paolo Sorrentino)
  •  “Grigris” (Mahamet Saleh-Haroun)
  •  “Heli” (Amat Escalante)
  • “The Immigrant” (James Gray)
  • “Inside Llewyn Davis” (Joel and Ethan Coen)
  • “Jusat 17” [Jeune et jolie] (Francois Ozon)
  • “Jimmy P.” (Un Indien des Plaines) (Arnaud Desplechin)
  • “La Vie d’Adele” (Abdellatif Kechiche)
  • “Like Father, Like Son” [Soshite Chichi Ni Naru] (Hirokazu Kore-eda)
  • “Michael Kohlhaas” (Arnaud Despallieres)
  •  “Nebraska” (Alexander Payne)
  • “Only God Forgives” (Nicolas Winding Refn)
  • “The Past” (Le Passé) (Asghar Farhadi)
  • “Straw Shield” [Wara No Tate] (Takashi Miike)
  • “A Touch of Sin” (Jia Zhangke)
  • “Un chateau en Italie” (Valeria Bruni Tedeschi)
  • “Venus in Fur” [La Venua a la Fourrure] (Roman Polanski)

OUT OF COMPETITION 

  • “All Is Lost” (J.C. Chandor)
  • “Blood Ties” (Guillaume Canet)

UN CERTAIN REGARD

Opening Film : “The Bling Ring” (Sofia Coppola)

  • “Anonymous” (Mohammad Rasoulof)
  • “The Bastards” (Les Salauds) (Claire Denis)
  • “Bends” (Flora Lau)
  • “Death March” (Adolfo Alix Jr.)
  • “Fruitvale” (Ryan Coogler)
  • “Grand Central” (Rebecca Zlotowski)
  • “La Jaula de Oro” (Diego Quemada-Diez)
  • “L’image manquante” (Rithy Panh)
  • “L’inconnu du lac” (Alain Guiraudie)
  • “Miele” (Valeria Golino)
  • “Norte, hangganan ng kasaysayan” (Lav Diaz)
  • “Omar” (Hany Abu-Assad)
  • “Sarah prefere la course” (Chloe Robichaud)


MIDNIGHT SCREENINGS

  • “Blind Detective” (Johnnie To)
  • “Monsoon Shootout” (Amit Kumar)

SPECIAL SCREENINGS

  • “Bite the Dust” (Taisia Igumentseva)
  • Bombay Talkies” (Anurag Kashyap, Dibakar Banerjee, Zoya Akhtar, Karan Johar)
  • “Max Rose” (Daniel Noah)
  • “Muhammad Ali’s Greatest Fight” (Stephen Frears)
  • “Seduced and Abandoned” (James Toback)
  • “Stop the Pounding Heart” (Roberto Minervini)
  • “Week End of a Champion” (Roman Polanski)


CLOSING FILM

  • “Zulu” (Jerome Salle)

Revolution and Football in Rio de Janeiro: The Film

German Production House 2 Pilots partners on Film and Music Entertainment’s (F&ME) Brazilian Co-Production Children of the Revolution: This is Rio

TV Zero Pacts with F&ME on Streetkids United II – Brazil 2014

Cologne-based production outfit 2Pilots has boarded Julien Temple’s music documentary feature Children of the Revolution: This is Rio, which begins shooting later this year in Rio de Janeiro. Producers Arne Ludwig and Joerg Siepmann will bring a key part of the final financing to complement the existing funding from RioFilme, world sales company Ealing Metro International, and anticipated support from a number of the official Rio based audiovisual production and promotional funds.

The documentary will look at the musical, social, political, and cultural revolutions that have taken place in Rio since the late 1960s to today; a period in which Brazil has gone from being an oppressive military dictatorship to one of the most open and vibrant democracies on the planet. With Rio and Brazil counting down to hosting two of the world’s largest and most prestigious high profile events, the 2014 FIFA World Cup and the 2016 Olympic and Paralympic games, the timing of the project is apposite.

Ludwig has also brought on board German distributor Rapid Eye Movies to release the film theatrically in Germany and is in an ‘advanced stage of negotiations with German broadcasters.’

“We are excited to be working with Fame and especially with a famous genius like Julien Temple,” says 2Pilots’ Arne Ludwig. “The tropicalismo, the history, the vibrant rhythm of Rio, will really shorten the wait until the next World Cup.”

The film, which is fully prepped and ready to go, will now start shooting in September after Temple has finished the release schedule on his London Olympic feature, BabyLon/don. Temple has already been scouting in Rio where he met and talked with Seu Jorge, Lenine, Nelson Motta, Roberto Medina, Kassin + Berna, Sanny Pitbull and B Negao, among figures from the current music scene, as well as getting reacquainted with old friends from the time he shot with the Sex Pistols and Mick Jagger in Rio. The screenplay has been developed by Temple, Helen Beltrame and Critical Divide’s Christopher Pickard.

Children of the Revolution: This is Rio is being co-produced in Brazil by Roberto Berliner and Rodrigo Letier of TV Zero. Founded in 1991, the company is one of Brazil’s most successful and dynamic production houses that in 2011 was responsible for Bruna Surfistinha that sold over 2 million admissions and grossed over US$10 million at the Brazilian box office.

TV Zero Joins F&ME for Streetkids United

TV Zero has also just joined F&ME’s Streetkids United II. The follow up to the hugely successful 2011 Berlinale Official Selection Generation film Streetkids United. The second film – in what is to become a series – will be made by Film and Music Entertainment to coincide with the second Street Child World Cup that is being organized by the Amos Trust and the ABC Trust prior to the 2014 FIFA World Cup in Brazil.

“In 2014 Rio de Janeiro will play host to the second Street Child World Cup and look to build on the success of the inaugural tournament that took place in Durban prior to the 2010 World Cup in South Africa,” explains F&ME’s Sam Taylor. “The 2014 event will bring teams of street children together from 20 countries to compete and to make their voices heard. As with the first Streekids United film – our goal is to tell the story of the children and the event – and through it draw the world’s attention to the terrible plight of street children across the globe, and the fact that these children are somebody.”

The 2014 Street Child World Cup will be hosted by the Action for Brazil’s Children’s Trust, a UK registered NGO and charity that is dedicated to helping street children and the most vulnerable young people in Brazil. The charity’s patrons include Pelé, Jimmy Page, Brian May, Fernando Meirelles, Jeremy Irons and Juliette Lewis.

“We are currently in the market with TV Zero for the right Brazilian director for the project. To get right to the heart of the issue we want a director that will become fully entrenched and deeply involved in the lives of the street child community in Rio,” says producer Mike Downey. “About the only challenge we won’t have is finding a Brazilian director with an interest and knowledge of football. It is a national passion, and a passion with everyone at TV Zero.”

The plight of Brazil’s street children has alread been touched upon in a number of Brazil’s most well known films including Hector Babenco’s Pixote, Fernando Meirelles City of God, and Jose Padilha’s Elite Squad.

Première Brasil 2011: Best of Brazil

Festival do Rio – Première Brasil 2011: Best of Brazil

This year Première Brasil includes nine feature films, eight feature length documentaries and a number of shorts. A further five features and three documentary features will screen hors concours, while a number of other Brazilian films will screen in other special Première Brasil sidebars.

The Première Brasil class of 2011 consists in part of:

Première Brasil: Fiction

A novela das oito – Odilon Rocha

Amanhã nunca mais – Tadeu Jungle

Eu receberia as piores notícias de seus lindos lábios – Beto Brant and Renato Ciasca

Girimunho – Helvécio Marins Jr. and Clarissa Campolina

Histórias que só existem quando lembradas – Julia Murat

Mãe e filha – Petrus Cariry

A hora e a vez de Augusto Matraga – Vinícius Coimbra

O abismo prateado – Karim Aïnouz

Sudoeste – Eduardo Nunes

Première Brasil: Fiction / Hors concours

Capitães de areia – Cecília Amado

Corações sujos – Vicente Amorim

O palhaço – Selton Mello

Os 3 – Nando Olival

Reis e ratos – Mauro Lima

Première Brasil: Documentaries

A era dos campeões – Cesario de Mello Franco and Marcos Bernestein

Canções – Eduardo Coutinho

Laiá, laiá – Alexandre Iglesias

Luz, câmera, pichação – Marcelo Guerra, Gustavo Coelho and Bruno Caetano

Marighella – Isa Grinspum Ferraz

Mentiras sinceras – Pedro Asbeg

Olhe pra mim de novo – Kiko Goifman and Claudia Priscilla

Os últimos cangaceiros – Wolney Oliveira

Première Brasil: Documentaries – Hors concours

Casa 9 – Luiz Carlos Lacerda

Uma longa viagem – Lúcia Murat

Vida de artista – José Joffily

Première Brasil, which has as its festival home the historic Odeon Petrobras in downtown Rio de Janeiro, is the heart of Festival do Rio and the best annual global showcase of contemporary Brazilian cinema.

Première Brasil is the only competitive section of Festival do Rio with jury prizes to be presented at the end of the festival. Three highly prized audience awards will also be bestowed on the best Brazilian feature film, best documentary and best short film.

In 2010 the festival’s official jury chose Toniko Melo’s VIPs as the best film in Première Brasil while Flavia Castro’s Diário de uma busca (Diary, Letters, Revolutions…) won the best documentary prize. The public voted for Geraldo Motta and Gisella de Mello’s O Senhor do Labirinto (Lord of the Labyrinth) as the best film and Susanna Lira’s Positivas (Positive) as the best documentary.