|Other names||Ana Carolina Teixeira Soares|
|Occupation||Film director, screenwriter|
Ana Carolina (born 27 September 1945)is a Brazilian film director and screenwriter. She directed seven films between 1969 and 2003.
A film director is a person who directs the making of a film. A film director controls a film's artistic and dramatic aspects and visualizes the screenplay while guiding the technical crew and actors in the fulfilment of that vision. The director has a key role in choosing the cast members, production design, and the creative aspects of filmmaking. Under European Union law, the director is viewed as the author of the film.
A screenplay writer, scriptwriter or scenarist is a writer who practices the craft of screenwriting, writing screenplays on which mass media, such as films, television programs and video games, are based.
In 1978, she was a member of the jury at the 28th Berlin International Film Festival.Her 1982 film Heart and Guts was screened in the Un Certain Regard section at the 1982 Cannes Film Festival.
The 28th annual Berlin International Film Festival was held from 22 February to 5 March 1978. The festival opened with Opening Night by John Cassavetes and closed with Steven Spielberg's out of competition film Close Encounters of the Third Kind. This was the first year the festival was held in February.
Heart and Guts is a 1982 Brazilian comedy film directed by Ana Carolina. It was screened in the Un Certain Regard section at the 1982 Cannes Film Festival.
Un certain regard is a section of the Cannes Film Festival's official selection. It is run at the salle Debussy, parallel to the competition for the Palme d'Or. This section was introduced in 1978 by Gilles Jacob.
Ana Carolina Teixeira Soares attended school with the intention of becoming a doctor, but instead changed direction and became a filmmaker.She graduated in 1964 from University of São Paulo Med School. Several years later she went to a School of Physiotherapy, taking special interest in university politics. She also spent a few of her early years in a Renaissance band called "Musikantiga".
She was highly focused in her early years as a filmmaker, as she made 11 documentaries in her first eight years in the business (her first being in 1967, last in 1974).
These early documentaries had a heavy focus on workers. Ana Carolina also had interest in the world of labour, as she created several documentaries that revolved around labourers and unions (Lavra-dor 1968, Pantanal 1971). At the same time, some of these documentaries focused more on artistic practices (Três Desenhos 1970, Monteiro Lobato 1970).
She is better known for her feature films, however. Her earliest works includes a trilogy that consists of films that all speak to social and political conditions in Brazil, her place of birth. They were supported by Embrafilme. Despite the common connection that they all speak to the conditions surrounding her in Brazil, these films all present themselves in very different ways.
Embrafilme was the Brazilian State funded company created in 1969 for production and distribution of Brazilian movies.
Her first film released in 1977 was titled Mar de Rosas, translated into Everything is Fine. The film is shot from a feminist perspective with interpretations open to the viewer. Mar de Rosas tells the story of a woman that slits her husband’s throat and flees with her child. It provides commentary on patriarchy and feminist discontent. This discontent is not strictly limited to the characters within the fictional landscape and speaks much more broadly to the nation at whole.
Her second film, Das Tripas Caração (1982) – which translates into With the Heart in the Hands- is an off-beat film that examines sexual interactions as well as homophobia. It depicts a male detective’s perverse dreams that include intervention in lesbian relationships and impregnating a female teacher. As described in Women Film Directors, “Carolina’s work is, in some ways, comparable to Pedro Almodovar’s, but Carolina’s use of camp horror is that of a distinctly feminist lens.”
The final film in the trilogy is titled Sonho de Valsa (1986) – which translates into Dream Waltz. The protagonist in the film is a female, named Tereza, that has chaotic dreams of a Prince Charming dressed in medieval costume. It continues on Carolina’s theme of sexual examination, and does so particularly by her interactions with the male role models in her life.
In an interview based on audacity in cinema, Carolina had much to say in regards to the censorship she faced in her time making films in Brazil. She uses words such as hysterical and neurotic to describe the impact it had on her production of films. She claims that the limitations placed on her work actually caused her to be more rebellious and this influenced her work to be even more provocative. She goes on to admit that her work in Mar de Rosas is meant to be interpreted as an allusion to the outside world.
Carolina had a highly influential role as a filmmaker in one of the most restrictive times in Brazil, the Military Dictatorship (1964–1985). Her battle against censorship trail-blazed a better path to social and political commentary in film. She fought against the censorship of films, but also the censorship of ideas.
Lygia Fagundes Telles is a Brazilian novelist and short-story writer. Educated as a lawyer, she began publishing soon after she completed high school and simultaneously worked as a solicitor and writer throughout most of her career. She is a recipient of the Camões Prize, the highest literary award of the Portuguese language and her works have received honors and awards from Brazil, Chile and France. She was elected as the third woman in the Brazilian Academy of Letters in 1985 and holds Chair 16.
Tizuka Yamasaki is a Brazilian film director.
Film censorship is carried out by various countries to differing degrees, sometimes as a result of powerful or relentless lobbying by organizations or individuals. Films that are banned in a particular country change over time.
Cría Cuervos is a 1976 Spanish drama film directed by Carlos Saura. The film is an allegorical drama about an eight-year-old girl dealing with loss. Highly acclaimed, it received the Special Jury Prize Award at the 1976 Cannes Film Festival.
Marília Pêra was a Brazilian actress. Hailed as "one of the decade's [1980s] ten best actresses" by Pauline Kael, Pêra won the National Society of Film Critics Award for Best Actress in 1982 for her role in Hector Babenco's acclaimed Pixote, and received Best Actress awards at the Gramado Film Festival and at the Cartegena Film Festival for Carlos Diegues' Better Days Ahead. Other films include Bar Esperança, Angels of the Night and Diegues' Tieta do Agreste.
Suzana Amaral Rezende is a Brazilian film director and screenwriter. She is best known for the 1985 film A Hora da Estrela.
Tata Amaral is a Brazilian director, writer, producer and actress. She has won various awards across South America, including 'Best director' and 'Best film'.
Gretta Alegre Sarfaty also known as Gretta Grzywacz and Greta Sarfaty Marchant, is a painter, photographer and multimedia artist who earned international acclaim in the 1970s, from her artistic works related to Body art and Feminism. Born in Greece, she moved with her family to São Paulo in 1954. From 1976 she lives and works in London, São Paulo and New York. Alongside her art she was the founder of the project-led space, Sartorial Contemporary Art (2005–2010) and since 2010 has been running a family trust the Alegre Sarfaty Collection.
Amélia is a 2001 Brazilian comedy-drama film directed by Ana Carolina, inspired by the visit of French actress Sarah Bernhardt to Brazil, in 1905. In the film, the actress is under a professional and personal crisis, but is induced by her Brazilian housekeeper, Amélia, to start performing in Rio de Janeiro. However, the actress is forced to live with the exotic sisters of Amélia.
Laís Bodanzky is a Brazilian film director. She is best known for Brainstorm, a film about the situation in mental institutions in Brazil.
Carmen Santos was a Portuguese-born Brazilian actress and film producer. Santos began acting at the age of fifteen, and started producing films from 1930 onwards with Blood of Minas Gerais. She founded her own film studio Brasil Vita Filmes in Rio de Janeiro. Santos directed the 1948 film Minas Conspiracy, in which she also starred.
Oswaldo Loureiro was a Brazilian film and television actor. Loureiro began his career as a child actor in the 1940s before moving on to adult roles.
Minas Conspiracy is a 1948 Brazilian historical film directed by Carmen Santos and starring Santos, Rodolfo Mayer and Roberto Lupo. The film portrays the 1789 Inconfidência Mineira, an unsuccessful attempt by some inhabitants of Minas Gerais to declare independence from Portugal. The film was produced by Brasil Vita Filmes, an independent studio controlled by Santos, who directed the film.
Alina Paim was a Brazilian novelist, author of children's literature and teacher. She was a communist and women's rights activist who translated Lenin's works into Portuguese. A re-evaluation of her contributions to Brazilian literature has emerged since 2007, when Paim was discovered to still be living in Mato Grosso do Sul. Her works were honored by the Antonio de Almeida Prize in 1961 and the Walmap Prize in 1965, both given by the Brazilian Academy of Letters.
Rafael dos Santos Coutinho is a Brazilian comics artist, painter and animator.
Lúcia Murat is a Brazilian filmmaker.
Amelia Amorim Toledo was a Brazilian sculptor, painter, draftsman, and designer. With a career that expanded over fifty years, Toledo explored multiple artistic languages, techniques, materials, and production methods. She is considered to be one of the pioneers of Brazilian contemporary art.
Eva Nil, born Eva Comello, was an Egyptian-born Brazilian film actress.
Liliane Dardot is a Brazilian artist, graphic designer, teacher, and political activist. She actively participated in the Oficina Guaianases de Gravura, an important art movement in Brazil. She is mostly known for her drawings in colored pencils, her works of lithography, and book illustrations.
Mar de Rosas is a 1977 Brazilian film directed by Ana Carolina.