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CANNES: OneEyed Films Takes Brazil’s ‘Riocorrente,’ ‘Rain,’ (EXCLUSIVE)

London sales co to present four Brazilian movies at Cannes

MADRID – London-based OneEyed Films, a longtime Latin America and genre specialist, will be presenting four award-winning Brazilian titles at Cannes, including “Riocorrente,” which scooped the Brazilian Federation of Film Critics’ Abbracine Award at the Sao Paulo Festival in October, and “After the Rain,” a standout at last May’s pix-in-post showcase BAL Goes to Cannes.

The four films underscore a building Brazilian trend as filmmakers, young and old, question just how much progress Brazil has achieved, and explore the downside of rampant modernization.

A poetic yet damning vision of big city life, “Riocorrente” turns on four lives – one a woman torn between two men, another a street kid – who lives play out in a pulsating, over-populated Sao Paulo on the seeming verge of collapse. The fiction feature debut of docu director Paulo Sacramonte, “Riocorrente” competed at 2014’s Rotterdam Fest. It also won best cinematography and editing at the Brasilia Festival.

Also in Rotterdam competition, “After the Rain” is set in 1984, as Brazil shrugs off military dictatorship. It features Caio, a 16-year-old high school student, who savors first love and drugs, bawls out punk with his band, preaches anarchist revolution.

An artistically ambitious first feature from directors Claudio Marques and Marilia Hughes, “After the Rain” enrolls coming-of-age tropes – exhilaration at new freedoms, run-ins with authority – to comment on broader historical change and its limitations.

A third OneEyed addition, “Memories I Am Told,” the latest from admired vet distaff director Lucia Murat (“Almost Brothers”), took the Fipresci Int. Federation of Film Critics prize at 2013’s Moscow Festival.

It marks Murat’s return to her favored theme of the Brazil’s dictatorship and its impact in the tale of a reunion of old friends, all members of the resistance against Brazil’s dictatorship thirty years earlier, who reflect on their waning idealism and now mythologized past. OneEyed founder Betina Goldman calls it a “Brazilian ‘Big Chill.’”

A modern tale about a young teenager stranded on a desert motorway, “They Will Come Back,” Marcelo Lordello’s second feature, boasts a fest-favorite career, which includes presences at Rotterdam, San Francisco, London BFI, New Directors/New Films New York Film Society of the Lincoln Center and Brasilia, where it snagged plaudits for best film, actress (Maria Luiza Tavares ) and supporting actress (Elayne de Moura).

“Brazil was put in the map over a decade ago by seminal films such as “City of God,” which awakened interest in Brazilian cinema,” said Betina Goldman.

Brazil now is regaining in interest and buyers have developed a less biased attitude, she added.

Chilean Pablo Illanes’ apocalyptic zombie feature “Videoclub,” winner of the Open Veins section at Argentina’s Mar del Plata Festival, Yudai Yamaguchi’s Japanese psycho-thriller “Abductee” and crime thriller “Black Out,” dubbed as a Dutch “Fast and Furious,” have also joined OneEyed Films’ ample genre film slate.

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