Igor Nolasco is a film critic, essayist and collaborator on a number of websites. He focuses his writings mainly on Brazilian cinema. He holds a degree in Cinema and Audiovisual studies at ESPM Rio. As a filmmaker, he has written and directed short-length films.
Crepúsculo no Vidigal
Even those most familiar with Sérgio Ricardo's filmography may not be familiar with the latest films directed by the multi-artist. With his last project of greater scope being A Noite do Espantalho, released in 1974, over the following decades Ricardo's incursions into cinema can be exemplified by lesser-known films.
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Alguns filmes encapsulam o verdadeiro espírito de grandes cidades para além das imagens fabricadas pelos estereótipos e pelo turismo.
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A Hora da Ave Maria
Depondo para uma burocrata que o interroga, Edson, personagem de Joel Barcellos, é surpreendido por badaladas de sinos.
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In 1974, Sérgio Ricardo’s A Noite do Espantalho, shot entirely in the Brazilian state of Pernambuco, was shown at the New York Film Festival. It was not until forty five years later, when Kleber Mendonça Filho and Juliano Dornelles’s Bacurau came to the New York Film Festival in 2019, that Ricardo returned to New York City, this time through song.
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This past September, the staff of Limite had the opportunity to conduct an interview with the Workers of the Cinemateca Brasileira (Trabalhadores da Cinemateca Brasileira) , the collective representing the archivists and staff of Brazil’s largest film archive, who have been fighting for nearly an entire year for the survival of this vital institution.
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The following interview took place with archivist Hernani Heffner on July 4th, 2020. Heffner has been working at Rio de Janeiro’s historic Cinemateca do MAM since 1996 and is one of Brazil’s most important film archivists.
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