Luiz Rosemberg Filho
1943 - 2019Rosemberg began his work with the arts as a painter during his teenage years, having his first contact with cinema during the early 1960s. His first film, "Balada da Página 3", is now lost. After releasing "O Jardim das Espumas" in the early 1970s, he moved to Paris, where he stayed until 1974 and became a close friend to fellow Brazilian director Glauber Rocha. By the late 1980s, Rosemberg was already transitioning his medium from film to video, with his works assuming an even more experimental, essayist nature. In the 2000s, he embraced the digital medium.
He was commonly paired with the Brazilian Cinema Marginal movement, even though he rejected this framing for his work. His films "O Jardim das Espumas" and "Crônica de um Industrial" were censored by his country's then ruling military dictatorship. After "O Santo e a Vedete" (1982), he did'nt release a feature until "Dois Casamentos" (2014). Through all of this period (and after it), though, he continued to make short films and produced a number of collages, many of which have film as a subject.
At December 2017, then aged 74, Rosemberg began publishing a series of Facebook posts containing his memories and thoughts on film, his friends, travels, politics, women, censorship, war, love, sex and the passing of time. He published those texts until February 2019, with a total of 404 posts that were later compiled into selected writings by his longtime colaborator, DoP Renaud Leenhardt.
Shortly after releasing "Os Príncipes" (2018), Rosemberg was hospitalized and submited to a surgery that would remove an hernia. He passed away in 2019, having finished the editing process of "Bobo da Corte" (2019), his last film, just before his death.
A Queda
Nelson Xavier, Ruy Guerra
Nelson Xavier, Lima Duarte
An accident at a construction site, resulting in one death, sets one worker off on a struggle for justice that exposes the mechanisms of exploitation and the class relations of a country that had undergone one decade of fast-paced ‘conservative modernisation’ at the hands of the military. As a sort of sequel to the classic The Guns (1964), following the fate of those characters as they move from enforcers of exploitation to exploited, it offers more than a snapshot of the period: the correspondent time lapses in fiction and reality capture the passage of a chunk of Brazilian history between the two films, and, therefore, also the transformations in cinematographic approaches to the social and political between the two moments. Equally daring in content and form, and in the originality of the adequacy of one to the other, it won the Silver Bear at Berlin.
The Fall
Crônica de um Industrial
Luiz Rosemberg Filho
Renato Coutinho, Ana Maria Miranda
After a life of richness, a conservative industrialist blames himself for abandoning his youth's left values. In existential misery, he keeps looking for a possible personal redemption after a foreign company buys his business. His life breaks into pieces.
Chronicle of an Industrial
A$$untina das Amérikas
Luiz Rosemberg Filho
Nelson Dantas, Analú Prestes
A$$untina of the Amerikas is a musical comedy of a prostitute that, in 24 hours, wakes up, fights her mother, puts her son in anarchy, has a date with Santa Claus, a blue bear and two girlfriends. Then she finally meets her old millionaire lover. They spend their time to talk about everyday life and make love. Based on the novels of Fernando Henrique Cardoso and Wilhelm Reich.
A$$untina of the Amerikas
Imagens
Luiz Rosemberg Filho
Sônia Andrade, Alvim Barbosa
Without any sounds, dialogues and with unknown actors, the images are the focus of this film. Images that want to awake, to question determinant moments, state of a system's languages, the morality of deaths, the immobility, the silence, among other subjects. Shot at the height of the Brazilian military dictatorship, it is an affront to the most diverse types of repression in that period.
Imagens
Dois Casamentos
Luiz Rosemberg Filho
Patrícia Niedermeier, Ana Abbott
Two brides wait in a church room while their marriages don't begin. But they are not anxious, as expected: they do act like ghosts in existential horror. As they wait to be called to the start of their respective ceremonies, they reflect on their relationships and lives.
Dois Casamentos
O Santo e a Vedete
Luiz Rosemberg Filho
Lutero Luiz, Adriana de Figueiredo
Successful businessman, Paulo Chupadinha send his wife to a convent every year to really enjoy Brazil’s carnival. He meets a cabaret woman that wants to make a show in his little nd peaceful village. For that, however, she will have to seduce every important man of the city: the police chief, the priest and the mayor.
The Saint and the Star
América do Sexo
Leon Hirszman, Luiz Rosemberg Filho
Ítala Nandi, José Celso Martinez Corrêa
Film in four segments: "Colagem", "Balanço", "Bandeira Zero" and "Sexta-Feira da Paixão, Sábado de Aleluia", having in common a strongly allegorical and gross protest tone in the approach of its subjects.
América do Sexo
Gozo/Gozar
Luiz Rosemberg Filho
Luciana Froes
In a world troubled between capital and hunger, free thinking about the importance of enjoyment and enjoyment as an act of resistance. No longer representation as a metaphor for the relationships sold by American cinema, but life lived as a metaphor for resistance to bad politics lived in the world.
Gozo/Gozar
