Santo e Jesus, Metalúrgicos I 1983
Cláudio Kahns & Antonio Paulo Ferraz

Alfred Hitchcock

Cenas de Família

Alfred Hitchcock

Alfred Hitchcock

Juliana do Amor Perdido

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A/V

November 28, 2022
Dissonant Militancy: Interview with Cláudio Kahns about Santo e Jesus, Metalúrgicos (1985)
By 
Victor Guimarães
& 
December 9, 2021
Helena Solberg on A Entrevista (1966) and Meio-Dia (1970)
By 
Fábio Andrade
& 
November 28, 2022
Dissonant Militancy: Interview with Cláudio Kahns about Santo e Jesus, Metalúrgicos (1985)
By 
Victor Guimarães
& 
December 9, 2021
Helena Solberg on A Entrevista (1966) and Meio-Dia (1970)
By 
Fábio Andrade
& 
May 13, 2021
Diego Zon on Das águas que passam (Running Waters)
By 
Matheus Pestana
& 
William Plotnick
January 25, 2021
Daniel Paes & Victor Magrath on Pé Sem Chão and Bandeira de Retalhos
By 
William Plotnick
& 
January 1, 2021
Estevão Garcia and Luís Rocha Melo on Que cavação é essa?
By 
William Plotnick
& 
Gustavo Menezes
December 15, 2020
Sérgio Ricardo aka João Lutfi
By 
Marcia Derraik
& 
December 1, 2020
Kleber Mendonça Filho on A Noite do Espantalho and the Music of Bacurau
By 
William Plotnick
& 
Gustavo Menezes
October 27, 2020
The Workers of the Cinemateca Brasileira on the Current Crisis
By 
William Plotnick
& 
Gustavo Menezes
October 20, 2020
Alain Fresnot on Nitrato (1974)
By 
Débora Butruce
& 
Natália de Castro
September 23, 2020
Sylvio Lanna on In Memoriam: O Roteiro do Gravador
By 
William Plotnick
& 
Gustavo Menezes
August 24, 2020
An Interview with Hernani Heffner on the State of Brazilian Film Preservation Today
By 
William Plotnick
& 
August 24, 2020
Carlos Adriano on A Voz e o Vazio: A Vez de Vassourinha
By 
William Plotnick
& 
Eric Barroso
November 28, 2022
Dissonant Militancy: Interview with Cláudio Kahns about Santo e Jesus, Metalúrgicos (1985)
By 
Victor Guimarães
& 
December 9, 2021
Helena Solberg on A Entrevista (1966) and Meio-Dia (1970)
By 
Fábio Andrade
& 
May 13, 2021
Diego Zon on Das águas que passam (Running Waters)
By 
Matheus Pestana
& 
William Plotnick
January 25, 2021
Daniel Paes & Victor Magrath on Pé Sem Chão and Bandeira de Retalhos
By 
William Plotnick
& 
January 1, 2021
Estevão Garcia and Luís Rocha Melo on Que cavação é essa?
By 
William Plotnick
& 
Gustavo Menezes
December 15, 2020
Sérgio Ricardo aka João Lutfi
By 
Marcia Derraik
& 
December 1, 2020
Kleber Mendonça Filho on A Noite do Espantalho and the Music of Bacurau
By 
William Plotnick
& 
Gustavo Menezes
October 27, 2020
The Workers of the Cinemateca Brasileira on the Current Crisis
By 
William Plotnick
& 
Gustavo Menezes
October 20, 2020
Alain Fresnot on Nitrato (1974)
By 
Débora Butruce
& 
Natália de Castro
September 23, 2020
Sylvio Lanna on In Memoriam: O Roteiro do Gravador
By 
William Plotnick
& 
Gustavo Menezes
August 24, 2020
An Interview with Hernani Heffner on the State of Brazilian Film Preservation Today
By 
William Plotnick
& 
August 24, 2020
Carlos Adriano on A Voz e o Vazio: A Vez de Vassourinha
By 
William Plotnick
& 
Eric Barroso
Copyright © 2022
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Cinelimite is a 501 (c)(3) non-profit organization.
All donations are tax deductible.

A/V

May 11, 2022
Introducing Tocaia no Asfalto
By
João Pedro Faro
October 28, 2022
​​Worker, Phantom Character
BY
João Paulo Campos
&
October 13, 2022
I do everything from memory: The Inheritance by Ozualdo Candeias
BY
João Pedro Faro
&
October 28, 2022
​​Worker, Phantom Character
BY
João Paulo Campos
October 13, 2022
I do everything from memory: The Inheritance by Ozualdo Candeias
BY
João Pedro Faro
September 20, 2022
My Name is Tonho: A Western of Hunger
BY
Filipe Furtado
August 15, 2022
Selva Trágica, Roberto Farias and Some Divisions in Brazilian Cinema
BY
Victor Guimarães
July 20, 2022
Offerings to the smelting of the Atlantic
BY
Thotti
July 6, 2022
Bahia de Todos os Santos: Expectations and Contradictions in the 1960s Film Scene
BY
Izabel de Fátima Cruz Melo
June 18, 2022
So close to heaven
BY
Igor Nolasco
May 11, 2022
Introducing Tocaia no Asfalto
BY
João Pedro Faro
&
April 27, 2022
Carnaval no Fogo: The Chanchada in the age of shabby reproduction
BY
Victor Guimarães
&
April 15, 2022
Images of a Strange Carnival
BY
Flávia Cesarino Costa
&
February 4, 2022
Fear and Desire. Before, the Summer.
BY
Juliana Costa
&
January 21, 2022
The Redemption of Jeca: Mazzaropi, Popular Artist
BY
Luís Costa
&
January 13, 2022
Go Inside, Woman: Geny Prado in the Cinema of Mazzaropi
BY
Erika Amaral
&
November 15, 2021
Helena Solberg: Between the Marias, The Aleph, and the Counterculture
BY
Andrea Ormond
&
October 24, 2021
Courage is What Cinema Wants from Us: Blackness and Queerness in Rosza Filmes
BY
Matheus Araujo dos Santos
&
October 6, 2021
Hail Mary Time
BY
Igor Nolasco
&
September 27, 2021
Cold as a Razor Blade: Um clássico... and the Start of Queer Cinema in Brazil
BY
Mateus Nagime
&
September 9, 2021
Audiovisual Conjurations in the Films of Castiel Vitorino Brasileiro
BY
Kênia Freitas
&
August 19, 2021
Alberto Cavalcanti in Recife: O canto do mar (1953)
BY
Luciana Corrêa de Araújo
&
July 27, 2021
Film Restoration in Brazil and the Advent of Digital Technology: A Brief Overview
BY
Débora Butruce
&
July 15, 2021
Quelé do Pajeú: Violence as a Formative Principle
BY
Lucas Reis
&
July 5, 2021
EARTH AND TRANCE: Hierophantic and Political Performance in Vereda da Salvação
BY
Bernardo Oliveira
&
June 21, 2021
Can a Movie Star Dream?
BY
Joyce Pais
&
June 9, 2021
Discovering A Margem
BY
João Pedro Faro
&
June 4, 2021
Torture and Extermination: State Violence in Genre Films from the Years of the Military Dictatorship in Brazil
BY
Patrícia Machado
&
May 21, 2021
The World Seen and Dreamt
BY
Vitor Graize
&
May 19, 2021
The Castello Station
BY
Margarete Taqueti
&
May 11, 2021
Some Notes on the History of Espírito Santo Cinema: From the Early Days to the 1990s
BY
Erly Vieira Jr
&
April 6, 2021
The First Films of Adélia Sampaio: A Cinema of Positioning and Contrast
BY
Kênia Freitas
&
March 30, 2021
Jece Valadão: Wanted Dead or Alive
BY
Filipe Furtado
&
March 11, 2021
About OS RAPTORES (Aurélio Teixeira, 1969)
BY
Pedro Henrique Ferreira
&
February 17, 2021
The Filmmaker and the Saint: Juliana do Amor Perdido
BY
Adriano da Silva Denovac
&
January 29, 2021
Twilight in Vidigal
BY
Igor Nolasco
&
December 27, 2020
A Cinema Between Tragedy and Resistance: Sérgio Ricardo's Political Pedagogy
BY
Reinaldo Cardenuto
&
November 22, 2020
Menino da calça branca and Esse mundo é meu: Striking Articulations of Sound and Image in Sérgio Ricardo’s First Films
BY
Esther Hamburger
&
November 18, 2020
Audiovisual Preservation in Brazil and the Cinemateca Brasileira Crisis: The Missing Link in the Audiovisual Industry
BY
Ines Aisengart Menezes
&
November 5, 2020
Menino da calça branca: Social Lyricism and Bossa Nova
BY
Luíza Alvim
&
October 30, 2020
Fourteen Digitization, Duplication, Exhibition or Restoration Projects that Reenvisioned Brazilian Cinema History
BY
Rafael de Luna Freire
&
October 12, 2020
Home Movies, Amateur Films and Film Archives: New Paths in Film History and Film Preservation
BY
Lila Foster
&
September 3, 2020
Filipe Furtado on Vassourinha: The Voice and the Void
BY
Filipe Furtado
&
September 1, 2020
Abolition: the Atlantic Cinema of Zózimo Bulbul
BY
Bernardo Oliveira
&
August 24, 2020
Ten Brazilian Films that Remain in the Shadows due to Poor Accessibility
BY
Rafael de Luna Freire
&
August 24, 2020
Excavations and Recollections around Zózimo Bulbul's Abolition
BY
Marcell Carrasco
&
August 24, 2020
A List of Brazilian Films Around “A Voz e O Vazio: A Vez de Vassourinha” (“Vassourinha: The Voice and The Void”)
BY
Carlos Adriano
&
Copyright © 2022
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Cinelimite is a 501 (c)(3) non-profit organization.
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A/V

Mazzaropi: Faces of a Popular Artist
Rodrigo de Janeiro
Vera: Ontem e Hoje
Julia Katharine
Da Fabulação
Hugo Katsuo
Cripta III
Joao Pedro Faro
Cripta II
Joao Pedro Faro
Ciclo
Rodrigo Almeida
Sombras do Amanhã
Gabriel Papaleo
Golpe de Vista
Michel Schettert
opera-K
Nenna
Ramon Alvarado
Cripta I
Joao Pedro Faro
5 X Sérgio
Luis Rocha Melo
Black skin, white suit: an introduction to Compasso de Espera
Juliano Gomes
Esse Mundo É Fluente
Michel Schettert
Copyright © 2022
About I SobreTerms I TermosContact I Contato
Cinelimite is a 501 (c)(3) non-profit organization.
All donations are tax deductible.