{"id":438,"date":"2015-06-23T20:06:40","date_gmt":"2015-06-23T23:06:40","guid":{"rendered":"http:\/\/taigafilmes.com\/wp\/?page_id=438"},"modified":"2017-11-08T15:15:24","modified_gmt":"2017-11-08T17:15:24","slug":"foreign-eye","status":"publish","type":"page","link":"http:\/\/taigafilmes.com\/site\/films\/foreign-eye\/","title":{"rendered":"Foreign Eye"},"content":{"rendered":"

\"Foreign<\/p>\n

Based on the book \u201c O Brasil dos gringos\u201d, by Tunico Am\u00e2ncio, the documentary shows the vision that world cinema has of the country, through the films in which Brazil was a location, a theme or even a reference, and what is behind these productions, through interviews with their directors and screenwriters. The objective is to reveal the mechanisms that produce that image. The stories, motivations and\/or pressures that are behind these films.<\/p>\n

Interviews with directors and producers<\/h4>\n

Philipe de Brocca<\/strong>: Director of L\u2019homme \u00e0 Rio (1962), one of the largest successes of the sixties, with more than five million of spectators only in France. Jean Paul Belmondo and Fran\u00e7oise D\u2019Orleac in their best style in a film full of clich\u00e9s for all the family, with the French charm. Philippe's Interview reveals the purest \u201ccolonial love\u201d for Rio de Janeiro of the 60, but also the comprehension of the clich\u00e9s (He made an excellent comparison saying that he knows that Brazilians should react to his film as he reacts to the American filming in Paris. And he shows how he was upset with Jack Lennon playing a flic ). He did not hide his prejudices, saying, for example, that he is incapable to imagine a film with a Brazilian working. The interview wastes nostalgia and avowals of love for a Rio of fantasy. Two years ago he made anew film in South America, a new adventure in Amaz\u00f4nia (Venezuelan Side) also with Belmondo, who was a great failure.<\/p>\n

Edmond Luntz:<\/strong> An incredible history, very similar to the Orson Welles\u2019 story in Brasil. He shoot in Rio and in some other state of Brazil a film called \u201cLa grabuje\u201d in 1968, produced by 20th Century Fox. Some years before, Luntz made a great success in Cannes with a film about marginal boys. Than, he received an invitation of the 20* Century Fox to do a feature film, what was going to be shoot in Canarias Island. In the last moment, because Fox had money frozen in Brazil, the film was transferred to Rio. The peripetia of the accomplishment of this film in full effervescence of 68 also is the fight of a French, with a very strong side as documentarist, for \u201cauthor's right\u201d.(Le droit d\u2019auteur). The film, that he made in prision and also in some poor placesof Brasil, was edited in the mood of the sixties, including scenes of the student movement. The American producer forbidden the director\u2019s cut and made another edition, what was not accepted by Luntz. After years of fight in Justice,, Luntz won the right of have his version of the film, considered \u201canti-stablisment\u201d in the USA. The answer was the destruction of the film, that was never distributed. Good history about as it works the so called hegemonic movies (or hegemonic producers) when they are contested. We will show the interview with the photos of the film, unique material that survived. An interview with a director gobbled by the system.<\/p>\n

Gerard Lauzier:<\/strong> Director of two films that talk about Brazil: \u201cT\u2019empeche tout le s monde de dormir \u201d , of 1982, and \u201cThe son of the French\u201d, of 2000. Well-known author of \u201cband dessin\u00e9s\u201d \u2013 a myth in France \u2013 lived in Brazil eight years when young and after this experience he made this two films. Immense contrast among films , full of clich\u00e9s, and his own experience in the country. Asked about this contradiction, gives an excellent interview on the power of the industry, what the public wants to see from Brazil. Also what can be sold about Brasil: \u2013 the poor, the rural and the exotic.<\/p>\n

Philipe Clair:<\/strong> Author and director of \u201cSi tu vas \u00e0 Rio, tu meurs\u201d, film that discovered Roberta Close, launching her internationally. Comedian of the old school of vaudeville, Philipe Clair gives an extremely funny interview about his Brazilian experience. A clich\u00e9s show of the typical citizen of average class: woman and backsides do the country.<\/p>\n

Barbro Karabuda:<\/strong> Swedish Director. She made in 1974 a feature film based on real facts called \u201cThe Embassy\u201d. With script of the brazilian writer Fernando Gabeira, than exiled in Sweden, the film is about the day life in the Argentine Embassy , during the 3 months after Pinochet\u2019s coup d\u2019etat, when more than a hundred latin American political persecuted was refugee . It brings another Brasil\u2019s vision, but also mythical : of the Brazilian guerrilla fighter. In the interview, the history of this Scandinavia's relation with Brazil and the Swedish point of view during the times of dictatorship in Latin America.<\/p>\n

Bo Jonsson:<\/strong>\u00a0Producer of two films shoot in Brazil. The first, in 1967, with Max von Sidow and Bibi Andersson, directed by Homes-Magnus Lundgren, who some years before won the Oscar for foreign film. The shooting is describe by the producer as \u201can odyssey\u201d showing what \u201cBrazil (and the tropical) can do to a Swede. The director finished crazy at a mental hospital. Excellent history of the \u201ctropics conflict \u2013 first world\u201d. The second film produced by Bo Jonsson in Brasil exemplifies the typical English clich\u00e9: two Swedish finish the film running away to Brazil to spend a fortune. In the interview, he describes the story that exemplify that conflict.<\/p>\n

Philipe Haas:<\/strong>\u00a0Director of \u201cAngel and insect \u201c, that were in the official selection of Cannes Festival. Important work about sexual repression on the Victorian times against the natural and savage world. He opens the film with images of Indians from Amazonia. (They were really dancers from England) . He defends in the interview the Indians as angels and does not accept that there were a \u201cwhite\u201d sexual fantasy in the form the Indians are presented. Interesting how a very sophisticated man get in touch with the ethnocentrism, .<\/p>\n

Zalman King:<\/strong> Director of \u201cWild Orchid\u201d (1990), film with erotic connotations, with Mickey Rourke . The film create an imaginary Rio, putting together Rio with Bahia, and contains an enormous quantity of clich\u00e9s, such as wild sensuality, candombl\u00e9 and sex, samba and carnival. In the interview, Zalman King says that his Brazil's image was influenced by the film \u201cOrfeu Negro\u201d and that he wanted an exotic place that people related immediately with the sensuality. He talks about religion and sensuality. He apology for have offended the Brazilian public<\/p>\n

Larry Gelbart:<\/strong> The screenwriter of \u201cBlame it on Rio\u201d (1984), which in a more affective way also brings the same clich\u00e9s than \u201cWild Orchid\u201d. Larry Gelbart is a very known screenwriter, that wrote between others \u201cTootsie\u201d and \u201cM.A.S.H.\u201d. With humor and intelligence, he talks about the importance of the clich\u00e9s for the comedies and how movies creates and perpetuates the clich\u00e9s. He comments the mistakes of the film, as the top -less and the Brazilian marriage. He compares the film with an American pie with Brazilian flavor. He says that Carmem Miranda is also responsible for the idea American has from Brazil.<\/p>\n

Charlie Peters:<\/strong> Co-screenwriter of \u201cBlame it on Rio\u201d, directed by Stalen Donen, with Michael Caine and Demi Moore. The film, a comedy using all the clich\u00e9s about Brazil. In the interview, he accepts the clich\u00e9s as part of the commercial world.<\/p>\n

Michael Caine:<\/strong> The protagonist of \u201cBlame it on Rio\u201d ( 1984). Michael Caine talks, with humor, of the beauty of the Brazilian people as reason for some clich\u00e9s . Pressured, he changes the tone and talks about the social differences in Brazil. Asked about the influence of Carmem Miranda, tells that he did not know that she was Brazilian.<\/p>\n

Jon Voight:<\/strong> Acted in two films of our list : \u201cThe Champ\u201d (1976) of Franco Zeffirelli and \u201cAnaconda\u201d (1997) of Luis Llosa. The first brings a small citation to Brazil, regarding the \u201cparadise\u201d .The second was shoot in Amaz\u00f4nia, one of the most adventure successful films ever made in the region.\u00a0In the interview, he criticizes the form Hollywood treats the foreign countries, but at the same time defends the American industry and the great corporations.\u00a0He also considers that the \u201cpolitically incorrect vision\u201d of the American films of last decades about Amaz\u00f4nia were caused by technical impossibility to film in the forest. He thinks that now things are changing thanks to the new technologies.<\/p>\n

David Weisman:<\/strong> Producer of \u201cThe kiss of Spider Woman\u201d of Hector Babenco. He was in Brazil several times and had a very strong relation with the country. As our documentary is only working with foreign films related to Brazil, we did not make the interview about Babenco\u2019s film. Our interest was his experience as producer of \u201cThe Samba film\u201d, which would be directed by Bob Refelson and would have S\u00f4nia Braga and Jack Nicholson in the main papers. This film was never done. But his histories about the producers' encounter with Jo\u00e3ozinho Trinta, one of the most important character of Brazilian carnival; the research made by the screenwriter using binoculars through the window of the hotel; and the theory of the director on one Black universal greeting are funny and full of irony. They reveal the problems of the \u201c foreign eye\u201d when people want to go beyond the \u201cclich\u00e9s\u201d.<\/p>\n

Greydon Clark:<\/strong> Director of \u201cLambada, the Prohibited Dance\u201d. The film mixed the dance lambada, which had just \u201cexploded\u201d in Europe, with amazon forest, creating an \u201cIndia princess\u201d. The director talks how he created this history filmed in Florida. He talks also about the power of the industry and the need of entertainment of the North American public. Lambada was, according to him, a highly lucrative film.<\/p>\n

Robert Ellis Miller:<\/strong> Director of \u201cBrenda Star\u201d (1988), with Brook Shield and also filmed in Florida. The film works with a character of the H. O that come to life and goes to Amaz\u00f4nia. In his interview, he defends the clich\u00e9s in second plan , as necessary to locate the history for the public. Tells that Carmem Miranda today would be a cartoon. He defends the need of Brazilian people speaks Spanish in the film because \u201cthe most part of Latin America speaks Spanish and the studio decides upon the public\u201d.<\/p>\n

Tony Plana:<\/strong> A Latino actor (North American born in Cuba) . He played with Raul Julia, the film \u201c Amaz\u00f4nia em Chamas ( Burning Season - 1994), about the life of Chico Mendes. The film, shoot in Mexico, is talked in English and with American actors of Latin type. The actor describes how the American market ignores the diversity of the Latin culture, preferring to create a Latin standard. For him, about the matter of language, the important in the film talked in English is to keep an accent of the original country when using personal or cities names.<\/p>\n

Hope Davis:<\/strong> Actress of \u201cNext Stop, Wonderland\u201d (1999), directed by Brad Anderson. The film shows a Brazilian character who talks with Spanish accent. He comments also about beaches in S\u00e3o Paulo, the greatest brazilian industrial city. Hope Davis, in her interview, says that she ignore everything about Brazil and associates it to the main clich\u00e9s. She talks critically about the \u201c latin lover\u201d character, also introduced in the film.<\/p>\n

Bernard Corneloup:<\/strong> Curator of the Festival Ibero-Aamericano de Lyon . Very good interview showing how the distributors choose the kind of brazilian films that can be showed and his influences even in the festivals. He speaks also about the clich\u00e9s that the French public wants to see in the screen.<\/p>\n

Alain Liotard:<\/strong>\u00a0Director of the Festival Ibero-Americano de Lyon and director of the cinemateca of Lyon. Also about the clich\u00e9s the French public wants to see.<\/p>\n

Jacki Bruet:<\/strong> Director of the International Festival of Women of Creteil. Very goos interview about the question of sensuality, how latins are showed and how even the European feminism has prejudices against the so called brazilian sensuality.<\/p>\n

Spectators Interviews<\/strong><\/p>\n

We had already done also about 100 small interviews with French, Swedish and North-american spectators at the same scenery (a green fund or a yellow fund, the brazilian colours).All them answered to a kind of game, where they must speaks what some words remember them about Brazil. We choose the following words that are in the center of the \u201cclich\u00e9s\u201d about Brasil :<\/p>\n

Sex<\/p>\n

Freedom<\/p>\n

Exotic<\/p>\n

Paradise<\/p>\n

Happiness<\/p>\n

Poverty<\/p>\n

Nature<\/p>\n

Mixed People<\/p>\n

Work<\/p>\n

Afro-brazilian rites<\/p>\n

Violence<\/p>\n

Amazon<\/p>\n

The answers are the obvious (samba carnival, etc...) and some strange and\/or aggressive, like infantile prostitution and cosmetic surgery. The situation is extremely interesting and even fun by the repetition of the clich\u00e9.<\/p>\n

Festivals<\/h4>\n

Festival Internacional do Rio de Janeiro 2005
\nMostra Internacional de S\u00e3o Paulo 2005
\nFestCine Goi\u00e2nia 2006 (Pr\u00eamio de Melhor Edi\u00e7\u00e3o)
\nFestival Latino Americano de Los Angeles (EUA) 2006
\nBrasil Plural (Alemanha) 2006
\nFestival du Film Br\u00e9silien de Paris (Fran\u00e7a) 2006
\nCine Las Am\u00e9ricas (EUA) 2007 Hot Docs (Canad\u00e1) 2007
\nFestival du Film Br\u00e9silien de Montreal (Canad\u00e1) 2007
\nToronto Brazil Film Fest (Canad\u00e1) 2007
\nFocus Brasil (Espanha) 2007
\nFestival de Maring\u00e1 2008<\/p>\n<\/div><\/div><\/div>

\"cartaz_olharestrangeiro\"<\/p>\n

Credits<\/h4>\n

Producers\u00a0Taiga, Limite e Okeanos
\nExecutive production: Lu\u00eds Vidal and\u00a0Paola Abou-Jaoude
\nScript: Lucia Murat and\u00a0Tunico Amancio
\nArt direction: Caco Moraes
\nSound direction: Simone Petrilho
\nMixage: Cl\u00e1udio Waldetaro
\nEditiong: Julia Murat
\nCamera and photography: Dudu Miranda
\nArgument and direction: Lucia Murat
\nAdicional animations: Fernanda Ramos, Phil and\u00a0Reyson Carlomango
\nArt assistant: Bruna Murat and\u00a0Thiago Sacramento
\nPre-editiong: Adriana Borges and\u00a0Rodrigo Hinrichsen
\nEdition assistant: Rodrigo Carvalho
\nProduction assistants: Carolina Oliveira, Giselle Haimovitz, Ivan S. Cruz and\u00a0Nicolau Roiter
\nAdicional cameras: Julia Murat and\u00a0Liana Brazil
\nEdition consultiong: Cezar Migliorin and\u00a0 Natara Ney
\nPost-production: Julia Murat, Leo Hallal\u00a0and\u00a0 Natara Ney
\nColor retouching: Leo Hallal
\nLaw consulting: Dario Corr\u00eaa
\nFinantial services: Ana Paula de Lemos and\u00a0 Nei Belo de Souza
\nIllustrations: Caco Moraes
\nAnimations: Massachi Lima Hosono
\nEUA Production: \u00c2ngela Pontual e Paula Abou-Jaoude
\nFrance Production: Gabriela Lins e Silva and\u00a0 Juliana Aguiar
\nSweden Production: Fernando Usiglio
\nBrazilian Production: J\u00falia C\u00f4modo, Ludmila Olivieri and\u00a0 Mariana Seivalos
\nProducers: Dudu Miranda, Lucia Murat, Luis Vidal and\u00a0Paula Abou-Jaoude<\/p>\n<\/div><\/div><\/div><\/div><\/div>","protected":false},"excerpt":{"rendered":"

Based on the book \u201c O Brasil dos gringos\u201d, by Tunico Am\u00e2ncio, the documentary shows the vision that world cinema has of the country, through the films in which Brazil was a location, a theme or even a reference, and what is behind these productions, through interviews with their directors and screenwriters. The objective is […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":356,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"templates\/template-full.php","meta":[],"_links":{"self":[{"href":"http:\/\/taigafilmes.com\/site\/wp-json\/wp\/v2\/pages\/438"}],"collection":[{"href":"http:\/\/taigafilmes.com\/site\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"http:\/\/taigafilmes.com\/site\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"http:\/\/taigafilmes.com\/site\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/taigafilmes.com\/site\/wp-json\/wp\/v2\/comments?post=438"}],"version-history":[{"count":4,"href":"http:\/\/taigafilmes.com\/site\/wp-json\/wp\/v2\/pages\/438\/revisions"}],"predecessor-version":[{"id":1512,"href":"http:\/\/taigafilmes.com\/site\/wp-json\/wp\/v2\/pages\/438\/revisions\/1512"}],"up":[{"embeddable":true,"href":"http:\/\/taigafilmes.com\/site\/wp-json\/wp\/v2\/pages\/356"}],"wp:attachment":[{"href":"http:\/\/taigafilmes.com\/site\/wp-json\/wp\/v2\/media?parent=438"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}