All Posts

Introduction Věra Chytilová’s Daisies  (1966) and Mai Zetterling’s The Girls  ( Flickorna , 1968) are among the most formally adventurous feminist films to emerge from European cinema in the late 1960s. Though produced in different national contexts, both films challenge cinematic and social patriarchy through bold aesthetic strategies that disrupt narrative coherence, spectatorship, and gendered representation. Daisies , made within the Czech New Wave and shaped by the const

Dara Oliver Andia The relationship between cinema and politics is inseparable, yet political films vary in how directly they persuade or invite reflection. This essay argues that political cinema can transcend propaganda through stylistic complexity, moral ambiguity, and open-ended narrative form. Focusing on Le Crime de Monsieur Lange  (Jean Renoir, 1936, France) and Los Olvidados  (Luis Buñuel, 1950, Mexico), it explores how each film uses mise-en-scène, cinematography, and

Introduction This practice-as-research project investigates how breath, voice, and linguistic identity may be mobilised as cinematic material to explore the emotional and embodied dimensions of communication. The short film Breath  (2025) emerged through an iterative process that examined how non-verbal sound, fragmented speech, and the physical act of breathing can reveal internal states that exceed linguistic meaning. Although the project initially centred on an abstract in

Frida Beckman’s article, “From Irony to Narrative Crisis: Reconsidering the Femme Fatale in the Films of David Lynch” (2012), examines how a well-known film character changes over time. She explains that the femme fatale, who was once controlled by patriarchal rules in classic Hollywood, is transformed in Lynch’s films by non-linear storytelling and what Gilles Deleuze (1989) describes as the time-image. In Blue Velvet (1986), Lost Highway (1997), and Mulholland Drive (2001),

The late 19th century saw a boom in popular visual culture, magic lantern shows, stereoscopes, dioramas, circuses, and traveling theater, that prepared audiences for cinema.

Films offer viewers experiences, narrative, emotional, sensory, that no other medium can. Every shot, sound cue, color choice, and edit is the result of deliberate creative decisions aimed at shaping how audiences feel and think.

 Cinematography, or “writing with motion,” uses framing, lens choice, lighting, color, movement, and texture to convey emotions, tone, and subtext visually.

Overview  Susan Hayward’s Cinema Studies: The Key Concepts is a comprehensive reference guide to the field of film studies.

Conducting this interview with Cecílio Elias Neto was, without exaggeration, one of the most moving moments in the entire process of making the documentary Piracicaba Never Forgot.

There are encounters that transcend time. Interviewing Cecílio Elias Neto for the documentary Piracicaba Never Forgot was one of them. And meeting Chico Andia again, with his living memory of projectors, seats, and sound, was another.

Among the many interviews recorded for Piracicaba Never Forgot, speaking with Chico Andia was, without doubt, one of the most striking.

Interviewing Luiz, my father, was more than an interview. It was a dive into shared memories, into a time that, although I never lived through, has somehow always lived within me.

Entre tantas vozes que encontrei ao longo do documentário Piracicaba Nunca Esqueceu, Dona Maria Laudelina Pereira Reis me tocou de uma forma muito especial.

Durante todo o processo de criação do documentário Piracicaba Nunca Esqueceu, um sentimento me acompanhou com constância: carinho Carinho por cada pessoa que se dispôs a sentar diante de mim e contar sua história com o cinema.

Oi! Eu sou a Dara Oliver, formada em Cinema e Audiovisual pela Unespar e atualmente fazendo Mestrado em Film na Queen’s University Belfast, na Irlanda do Norte. Trabalho como assistente de direção em curtas, documentários e videoclipes, e já passei por muitas madrugadas de set, scouts técnicos, planilhas infinitas e aquelas situações que só quem vive a rotina do audiovisual entende.

Espero que esse material te ajude, nem que seja pra você pensar: “ok, não sou só eu.”

Reflexões sobre as entrevistas realizadas para o meu projeto Piracicaba Nunca Esqueceu.