Projeto Paradiso, Ventana Sur, BR Lab partner


Projeto Paradiso, operated by the Olga Rabinovich Institute, renewed its partnership with Ventana Sur in Buenos Aires, supported by the Cannes Film Festival and Market and the Argentinian film-television agency INCAA.

The decision is one of many unveiled at the Cannes Film Market, as dynamic organizations in Brazil continue to attempt to stem the ravages of three years of slowing state incentives from President Jair Bolsonaro and define the institutional support for an industry in what should be a post-Bolsonaro age after the October general election. Some new initiatives:

Projeto Paradiso expands its alliance with Ventana Sur

The Projeto Paradiso-Ventana Sur alliance is a double-edged sword. For the second consecutive year, the Brazilian philanthropic organization will present a Paradiso WIP Award, worth $10,000 as the final installment to the best Brazilian fiction project in post-production at Ventana Sur, the biggest film and television event in the world. ‘Latin America.

Launched in 2021, the prize is attracting Brazilian cinema as some federal funding lines began to be renewed, starting last December, but the downturn in incentives from the Bolsonaro government, compounded by the pandemic, has decimated its film industry.

The prize also comes, however, as an exciting new generation of filmmakers galvanizes film production in Brazil.

Last year’s prize was won by Gabriel Martin’s first solo feature, “Mars One,” produced by Filmes de Plástico, which was then shortlisted for January’s Sundance World Cinema Dramatic Competition.

Cannes saw Paris-based MDP Premium announce new sales of Iuli Gerbase’s 2021 Sundance hit ‘The Pink Cloud’, a banner title from the next generation of Brazilian filmmakers that has now sold over half the world. Globo Filmes also confirmed at Cannes that they have embarked as co-producers of both “Cidade; Campo”, by Juliana Rojas (“Good Manners”) and “The Blue Flamingo”, by Beatriz Seigner (“Los Silencios”).

Also in Cannes, Projeto Paradiso announced that it is strengthening Brazilian participation in Ventana Sur this year by bringing Paradiso Talents – professionals supported by the institution – to the Buenos Aires market. The intention is to create a hub for these filmmakers to meet international players, he said.

BrLab approaches Ventana Sur

Meanwhile, BrLab, Brazil’s leading film training platform for national and Latin American titles, is closing in on Ventana Sur. Its main studio – which featured films such as Manuel Nieto’s Directors’ Fortnight title ‘The Employer and the Employee’, Lucia Garibaldi’s ‘Sharks’, Marcelo Martinessi’s Berlin winner ‘The Heiresses’ and Fernando Coimbra’s first album “A wolf at the door”. ” – traditionally took place in October.

This year, however, it will run from November 21-27, the week before Ventana Sur. “The events are different, BrLab is much more of a training and meeting event than a market, but they have a similar sense of integration,” said Rafael Sampaio, director of BR Lab. Variety.

“Ventana Sur is a very important hub for Latin American cinema and after the pandemic we understood that it would be important to optimize trips and trips to make it much easier for people who want to come to BrLab from combine that with their trip to Buenos Aires,” he added.

BR Lab and Ventana Sur are working on “programming together,” Sampaio said. “The intention is to cooperate more and establish more connection points between Brazil and Argentina and bring more professionals to South America.”

Ventana Sur and Projecto Paradiso in Cannes
Ventana Sur, Projecto Paradiso

Nicho 54 brings a delegation of black Brazilian producers to Cannes

Sponsored by Open Society Foundations, Instituto Ibirapitanga and Instituto Goethe/Hilfsfonds and with the institutional support of Projeto Paradiso, the Nicho Executiva program brought a delegation of seven black Brazilian female producers to the Cannes Film Market via its institute Nicho 54, led by Nicho 54 co-founder Fernanda Lomba and award-winning producer Joelma Gonzaga (“Edna”), who serves as the program’s coordinator.

Nicho Executiva participants welcome Emanuela Barboza and Yolanda Barroso from Rio de Janeiro, Cláudia Roberta and Daiane Rosário and Flávia Santana from Tocantins, both based in Bahia.

Launched in February, the program focuses on the role of executive production for the wider film industry. “Through theoretical and practical learning, the program designs a unique methodology deploying resources, knowledge and strategies designed exclusively for the black community in Brazil,” Nicho 54 said in a statement. “Nicho Executiva sets markers with the goal of both contributing to the participants’ learning journey and building leadership skills for Black women,” he added.

“Attending industry events of such a high standard is extremely important to the development of the careers of Nicho Executiva producers,” said Lomba, the program’s curator. “It’s an opportunity to immerse the delegation in a creative and active environment that facilitates the connection of actors from several countries. This makes it possible to broaden the network of participants, as well as to build professional relationships.

“Increasing the number of black women as leaders in creative and executive processes within the industry is no small feat. It involves reshaping a structure that has made a wide range of voices invisible in storytelling and image-making,” Gonzaga added.

Variety will report on participants’ projects later in the year.

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Nicho 54 in Cannes
Credit: Loïc Thébaud


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