Cinema Maldito: On the Margins of Brazilian Cinema


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icon-brazilian-cinemaCinema Maldito: On the Margins of Brazilian Cinema

Still image from the film The Red Light Bandit
While Brazilian and other Latin American cinemas are often discussed as being "peripheral"--accounting for woefully small percentages of their domestic markets, all dominated by the Hollywood giant--those very cinemas have developed their own margins, films which for various reasons fall outside the mainstream of domestic films.  Brazil has a rich tradition of fervent creativity on the margins: there were always filmmakers ready, willing and able to challenge what passed for the establishment.

The three films selected for this brief series all were produced in Sao Paulo, always the junior partner to Rio in Brazilian cinema. They represent a variety of styles and approaches, from the ultra-low budget horror of Mujica Marins to the incisive critique of the Brazilian Sixties that is ROMANCE. Also included is Rogerio Sganzerla's remarkable RED-LIGHT BANDIT, the film that more than any other launched what became known as the Brazilian underground (or cinema marginal) in the late Sixties, a response to worsening military dictatorship as well an aesthetic challenge to the Cinema Novo movement that had thrust Brazilian cinema onto the world stage.

A rare opportunity to discover a hidden side of one f the world's most continually challenging national cinemas. The series was programmed by Richard Peña, Program Director for the Film Society of Lincoln Center and Director of the New York Film Festival.

More information on Richard Peña's Jorgensen Guest Filmmaker Lecture can be found here.

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