Juliano Gomes is a film critic and artist based in Rio de Janeiro. Has a master degree on Aesthetic Technologies in UFRJ, where he studied Jonas Mekas films. Writes regularly to the Brazilian online magazine Revista Cinética, where he is at the editors board since 2020. Also writes about music and theatre.
Black skin, white suit: an introduction to Compasso de Espera
Compasso de Espera foi concebido por Zózimo Bulbul e Antunes Filho em resposta à falta de oportunidades para profissionais negros na indústria cinematográfica no final da década de 1960.
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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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