Luiz Fernando Carvalho

Luiz Fernando Carvalho
Born
Luiz Fernando Carvalho de Almeida

(1960-07-28) July 28, 1960 (age 64)
Rio de Janeiro, Brazil
Occupation(s)Film director, screenwriter, novelist
Years active1985–present
Known forFilms and TV series based on Brazilian writers
Notable workTo the Left of the Father (Lavoura Arcaica), Os Maias, Hoje É Dia de Maria and Dois Irmãos

Luiz Fernando Carvalho (born July 28, 1960, in Rio de Janeiro) is a Brazilian filmmaker and television director, known for works closely linked to literature that constitute a renovation in Brazilian audiovisual aesthetics.[1] He has already brought to the screen works by Ariano Suassuna, Raduan Nassar, Machado de Assis, Eça de Queirós, Roland Barthes, Clarice Lispector, Milton Hatoum, José Lins do Rego and Graciliano Ramos, among others.

Some critics compare Luiz Fernando Carvalho's productions to the Brazilian Cinema Novo[2] and icons of film history such as Luchino Visconti and Andrei Tarkovsky.[3] His work is characterized by visual and linguistic experimentation[4] and exploration of the multiplicity of Brazil's cultural identity.[5][6] The baroque style[7][8][9] of overlays and interlacing of narrative genres, the relation to the moment in Time,[10] the archetypal symbols of the Earth and the reflection on the language of social and family melodrama[11] are features of the director's poetic language.

The filmmaker's works have met with both critical and public acclaim. He directed the film To the Left of the Father (Lavoura Arcaica) (2001),[12][13] based on the homonymous novel by Raduan Nassar, cited by the critic Jean-Philippe Tessé in the French magazine Cahiers du Cinéma as a "ground-breaking promise of renovation, of an upheaval not seen in Brazilian cinema since Glauber Rocha,[14][15] which won over 50 national and international awards.[16] The telenovelas Renascer (Rebirth) (1993) and The King of the Cattle (O Rei do Gado) (1996), by screenwriter Benedito Ruy Barbosa and directed by Luiz Fernando Carvalho, are recognized as benchmarks of Brazilian television drama and achieved some of the highest audience ratings of the 1990s.[17][18]

There is a marked contrast between the director's television works: from the pop design of the 60s in the series Ladies' Mail (Correio Feminino) (2013) to the classic rigor of the mini-series The Maias (Os Maias) (2001), the urban references of the working-class suburbs in the mini-series Suburbia (2012) to the playfulness of the soap My Little Plot of Land (Meu Pedacinho de Chão) (2014), the aesthetic research of the Sertão (backcountry) in Old River (Velho Chico) (2016) to the Brazilian fairytale of the mini-series Today is Maria's Day (Hoje É Dia de Maria) (2005) and the realistic universe of family tragedy in Two Brothers (Dois Irmãos) (2017).[19][20]

The director's production process is renowned for identifying new talent from all over Brazil and for training actors,[21] revealing new stars of the dramatic arts such as Letícia Sabatella, Eliane Giardini, Bruna Linzmeyer, Johnny Massaro, Irandhir Santos, Simone Spoladore, Caco Ciocler, Marcello Antony, Marco Ricca, Isabel Fillardis, Giselle Itié, Emilio Orciollo Netto, Sheron Menezes, Jackson Antunes, Maria Luísa Mendonça, Eduardo Moscovis, Jackson Costa, Leonardo Vieira, Cacá Carvalho, Luciana Braga, Julia Dalavia, Renato Góes, Cyria Coentro, Marina Nery, Júlio Machado, Bárbara Reis, Lee Taylor, Zezita de Matos, Mariene de Castro and Lucy Alves, among others. The director's actor coaching technique has given rise to a method recounted in the book O processo de criação dos atores de Dois Irmãos (The creation process of the actors in Dois Irmãos), by the photographer Leandro Pagliaro.[22][23]

"There is a concrete promise of renovation, of a palpitation not seen in Brazilian cinema since Glauber Rocha. (...) At first, one is left with nothing but fragments torn from a visual magma. But soon the chaos resolves itself, the film unrolls in all its richness like a barbaric poem verging on hallucination, of extraordinary power. (...) Never, however, does its return to the underlying myths obscure or accelerate the predominance of the sensations. If the film is possessed of such enchanting force, it is because Luiz Fernando Carvalho knows that everything starts there, in this first way of being born into the world, of allowing oneself to be ravished by it, to savor every twist of it..."

—Les Cahiers du Cinèma, by Jean-Philippe Tessé on his critic about To the Left of the Father (Lavoura Arcaica)[14]

  1. ^ Carter, Eli Lee "Luiz Fernando Carvalho: An Auteur of Brazilian Television", UCLA Electronic Theses and Dissertations, 2013. Retrieved on 05 April 2017.
  2. ^ Hugo Sukman (28 October 2001). "Um cineasta que está entrando para o clube dos poetas". O Globo. Retrieved 17 April 2017. Com Lavoura Arcaica, Luiz Fernando Carvalho respeita uma tradição que vai de Mario Peixoto a Ruy Guerra
  3. ^ Daniel Piza (22 August 2001). ""Lavoura Arcaica" estréia sábado no Canadá". Estado de S. Paulo. Retrieved 12 April 2017. Um parentesco com o estilo e a espiritualidade do cinema dos russos Tarkovski e Sokurov
  4. ^ Ilana Feldman e Ismail Xavier (16 October 2016). "Quinze anos depois, filme "Lavoura Arcaica" ainda é corpo estranho". Ilustríssima/Folha de S. Paulo. Retrieved 12 April 2017.
  5. ^ "Luiz Fernando Carvalho, talento made in Brasil", La Nácion, 11 May 2002. Retrieved on 05 April 2017.
  6. ^ Maria Rita Kehl (1 October 2016). "'Velho Chico' reinaugura um desejo de utopia". O Globo. Retrieved 12 April 2017. O Brasil de Benedito Ruy Barbosa e Luiz Fernando Carvalho é agreste. É pobre, remediado, devastado e esperançoso
  7. ^ Helcio Kovaleski (15 March 2016). "'Uma Novela Shakespearana, neorrealista e barroca". Le Monde Diplomatique Brasil. Retrieved 13 April 2017.
  8. ^ Marcelo Coelho (14 November 2001). "'Lavoura' e os indícios de uma obra prima". Folha de S. Paulo. Retrieved 12 April 2017. Lavoura Arcaica" tem todas as razões para ser excessivo, barroco, quase ostentatório em sua riqueza estilística. O filme consegue traduzir visualmente toda a beleza literária do livro de Raduan Nassar
  9. ^ Ilana Feldman (21 January 2017). "Dois Irmãos: arqueologia da memória, alegoria da destruição". Revista Bravo. Retrieved 12 April 2017. Na obra de Luiz Fernando Carvalho, o barroco é um conceito norteador de uma pesquisa de linguagem: busca conceitual pela brasilidade presente nos opostos, nas contradições e nos contrastes deste país
  10. ^ Tiago Mata Machado (23 October 2001). "Em "Lavoura Arcaica", Carvalho faz retrato do tempo". FolhaOnline. Retrieved 12 April 2017.
  11. ^ Inácio Araújo (15 November 2001). "Longa é exceção exemplar no cinema do país". Folha de S. Paulo. Retrieved 12 April 2017.
  12. ^ Sylvie Debs (1 June 2008). "Du goût du public selon Luiz Fernando Carvalho". Cinémas d'Amérique latine (16): 74–86. doi:10.4000/cinelatino.2104. Retrieved 10 April 2020.
  13. ^ Florence Colombani (9 July 2003). ""A la gauche du père", de Luiz Fernando Carvalho". Le Monde. Retrieved 10 April 2020.
  14. ^ a b Tessé, Jean-Philippe " Les pieds dans la terre", Cahiers du Cinèma, July–August 2003. Retrieved on 19 April 2017.
  15. ^ Tessé, Jean-Philippe "On peut aisément voir dans cette grande fresque charnelle la plus belle découverte du cinéma brésilien depuis Glauber Rocha, au moins parce que Luiz Fernando Carvalho partage avec le réalisateur de Antonio das mortes un goût pour la puissance du lyrisme", Chronicart, 6 July 2003. Retrieved on 19 April 2017.
  16. ^ "Montreal premia a pousada de "Lavoura Arcaica"". Estadão. 5 September 2001. Retrieved 17 April 2017.
  17. ^ Hopewell, John "Luiz Fernando Carvalho (‘The King of the Cattle’) returns with a rural romantic saga packing political overtones", Variety, 8 March 2016. Retrieved on 05 April 2017.
  18. ^ Marília Martins (6 November 1993). "Renascer deu aula de direção". Jornal do Brasil. Retrieved 14 April 2017.
  19. ^ Carter, Eli Lee "Rereading Dom Casmurro - aesthetic hybridity in Capitu", University of Virginia, 2014. Retrieved on 18 April 2017.
  20. ^ Carter, Eli Lee (2014). "Afinal, o Que Querem as Mulheres?: Luiz Fernando Carvalho's Metafictional Critique of Brazilian Television Fiction". Journal of Latin American Cultural Studies. 23 (4): 363–379. doi:10.1080/13569325.2014.958660. S2CID 191484906.
  21. ^ Patricia Vilalba (11 November 2010). "Freu Explica". O Estado de S. Paulo. Retrieved 17 April 2017. Freud explica: "O processo de ensaios para filmar com Luiz Fernando é um dos diferenciais do diretor, que o pôs em posição de sonho de consumo de qualquer ator comprometido com seu ofício"
  22. ^ Roger Lerina (12 January 2017). ""Dois Irmãos": livro registra cenas da preparação do elenco da minissérie". Folha de S.Paulo. Retrieved 12 April 2017.
  23. ^ Ubiratan Brasil (9 January 2017). "Fotógrafo registra o intenso processo de ensaio da série 'Dois Irmãos'". O Estado de S. Paulo. Retrieved 12 April 2017.