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Júlio Bressaneto top

The BAFICI is proud to dedicate one of this year’s three retrospectives to one of the most essential names in Brazilian cinema,who created a turbulent and prolific body of work turning his back on the Cinema Novo. He started to make films in the late ‘60s, and even though at the time he was close to such figures asGlauber Rocha, he quickly moved away from the official sphere. “When we createdBelair,we were expelled from the country, from the class of filmmakers,” saysBressane,in an interview that will be published in one of the Festival’s books, in reference to such break but also to his association with RogérioSganzerlafor the venture of Belair, a production company with which, as the legend says,they made six films in three months: the freedom and speed with which they createdmovies was such that this model of filmmaking isbeing studied today. He never stopped making films,and the exhibition in his honor in this edition of BAFICI can attest to that: 17 films ranging fromO anjonasceu andMatou a família e foiao cinema, both from 1969, to O Batuque dos astros, from 2012.


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