By RICARDO IANNACE & OSCAR NESTAREZ: The analysis of the short story “O lodo”, by Murilo Rubião, recovers the story of a paranoid (“The Schreber case”), investigated by Sigmund Freud, as well as the cinematographic production of Helvécio Ratton and the painting of
By LUCIANA MOLINA: Foreword to the book by Joacy Ghizzi Neto
By GIOVANNI MESQUITA: If China responds to cultural imperialism by banning Hollywood and creating its own social networks, it shows that sovereignty is not authoritarianism, but self-defense. Meanwhile, our elites parade around in Trumpist hats
By JOÃO LANARI BO: Sergei Eisenstein's work spanned the 20th century as an indispensable reference for lovers of the seventh art – in fact, it was one of the decisive arguments for the characterization of cinema as a “seventh art”
By FLAVIO VALENTIM DE OLIVEIRA: Commentary on the film directed by Marianna Brennand, currently showing in cinemas.
By VANDERLEI TENÓRIO: Parasite not only won an Oscar, it also challenged the paradigm that foreign-language films would automatically be marginalized by the mainstream industry.
By WALNICE NOGUEIRA GALVÃO: The battle of Maria Antonia Street in history, theater and cinema.
By ANNATERESS FABRIS: Considerations on Michel Hazanavicius' film
By FRANCISCO DE OLIVEIRA BARROS JUNIOR: Commentary on the film directed by Leon Hirszman.
By JOSÉ FERES SABINO: Considerations on the film directed by Wim Wenders
By JOÃO LANARI BO: Commentary on the documentary directed by Mstyslav Chernov
By HOMERO SANTIAGO: Commentary on the film directed by Andrucha Waddington and Breno Silveira, currently showing in cinemas.
By CAMILO SOARES: The lack of affection in a dehumanized gaze leads us to a dangerously smooth and predictable, generalist and idiotic world.
By JOSÉ GERALDO COUTO: Commentary on the film directed by Hong Sang-soo, currently showing in theaters
By FERNANDA ALBUQUERQUE DE ALMEIDA: The Belgian filmmaker uses color as an essential element to investigate and illustrate the state of mind of happiness, believing that happiness cannot be illustrated in black and white
By CARLOS EDUARDO ARAÚJO: Considerations on the film directed by Davide Ferrario.
By GUILHERME COLOMBARA ROSSATTO: Commentary on the film directed by José Antonio Garcia & Ícaro Martins, currently showing in cinemas
By FRANCISCO DE OLIVEIRA BARROS JUNIOR: “Romero’s” film narrative exemplifies Christian resistance against institutionalized violence and economic injustice
By VITOR MORAIS: Commentary on the film directed by Flávia Moraes, currently showing in cinemas
By RICARDO IANNACE & OSCAR NESTAREZ: The analysis of the short story “O lodo”, by Murilo Rubião, recovers the story of a paranoid (“The Schreber case”), investigated by Sigmund Freud, as well as the cinematographic production of Helvécio Ratton and the painting of
By LUCIANA MOLINA: Foreword to the book by Joacy Ghizzi Neto
By GIOVANNI MESQUITA: If China responds to cultural imperialism by banning Hollywood and creating its own social networks, it shows that sovereignty is not authoritarianism, but self-defense. Meanwhile, our elites parade around in Trumpist hats
By JOÃO LANARI BO: Sergei Eisenstein's work spanned the 20th century as an indispensable reference for lovers of the seventh art – in fact, it was one of the decisive arguments for the characterization of cinema as a “seventh art”
By FLAVIO VALENTIM DE OLIVEIRA: Commentary on the film directed by Marianna Brennand, currently showing in cinemas.
By VANDERLEI TENÓRIO: Parasite not only won an Oscar, it also challenged the paradigm that foreign-language films would automatically be marginalized by the mainstream industry.
By WALNICE NOGUEIRA GALVÃO: The battle of Maria Antonia Street in history, theater and cinema.
By ANNATERESS FABRIS: Considerations on Michel Hazanavicius' film
By FRANCISCO DE OLIVEIRA BARROS JUNIOR: Commentary on the film directed by Leon Hirszman.
By JOSÉ FERES SABINO: Considerations on the film directed by Wim Wenders
By JOÃO LANARI BO: Commentary on the documentary directed by Mstyslav Chernov
By HOMERO SANTIAGO: Commentary on the film directed by Andrucha Waddington and Breno Silveira, currently showing in cinemas.
By CAMILO SOARES: The lack of affection in a dehumanized gaze leads us to a dangerously smooth and predictable, generalist and idiotic world.
By JOSÉ GERALDO COUTO: Commentary on the film directed by Hong Sang-soo, currently showing in theaters
By FERNANDA ALBUQUERQUE DE ALMEIDA: The Belgian filmmaker uses color as an essential element to investigate and illustrate the state of mind of happiness, believing that happiness cannot be illustrated in black and white
By CARLOS EDUARDO ARAÚJO: Considerations on the film directed by Davide Ferrario.
By GUILHERME COLOMBARA ROSSATTO: Commentary on the film directed by José Antonio Garcia & Ícaro Martins, currently showing in cinemas
By FRANCISCO DE OLIVEIRA BARROS JUNIOR: “Romero’s” film narrative exemplifies Christian resistance against institutionalized violence and economic injustice
By VITOR MORAIS: Commentary on the film directed by Flávia Moraes, currently showing in cinemas
