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No intenso agora = In the intense now

Author: João Moreira SallesRodrigo LeãoEduardo EscorelLaís LifschitzVideoFilmes (Firm),All authors
Publisher: Brooklyn, NY : Icarus Films, [2017]
Edition/Format:   DVD video : NTSC color broadcast system : PortugueseView all editions and formats
Summary:
"Made following the discovery of amateur footage shot in China in 1966 during the first and most radical stage of the Cultural Revolution, IN THE INTENSE NOW speaks to the fleeting nature of moments of great intensity. Scenes of China are set alongside archival images of the events of 1968 in France, Czechoslovakia, and, to a lesser extent, Brazil. In keeping with the tradition of the film-essay, they serve to  Read more...
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Genre/Form: Amateur films
Documentary films
Feature films
History
Nonfiction films
DVD-Video discs
Video, Portuguese
Material Type: Videorecording
Document Type: Visual material
All Authors / Contributors: João Moreira Salles; Rodrigo Leão; Eduardo Escorel; Laís Lifschitz; VideoFilmes (Firm),; Icarus Films,
OCLC Number: 1020077609
Language Note: Portuguese dialogue; English subtitles.
Notes: Originally released as a documentary film in 2017.
Full screen.
Credits: Editing, Eduardo Escorel, Laís Lifschitz ; music, Rodrigo Leáo.
Description: 1 videodisc (127 min.) : sound, color with black and white sequences ; 4 3/4 in.
Details: DVD-R, NTSC, region 1.
Other Titles: In the intense now
Responsibility: Videofilmes apresenta ; roteiro, texto e direcão, João Moreira Salles.

Abstract:

"Made following the discovery of amateur footage shot in China in 1966 during the first and most radical stage of the Cultural Revolution, IN THE INTENSE NOW speaks to the fleeting nature of moments of great intensity. Scenes of China are set alongside archival images of the events of 1968 in France, Czechoslovakia, and, to a lesser extent, Brazil. In keeping with the tradition of the film-essay, they serve to investigate how the people who took part in those events continued onward after passions had cooled. The footage, all of it archival, not only reveals the state of mind of those filmed--joy, enchantment, fear, disappointment, dismay--but also sheds light on the relationship between a document and its political context. What can one say of Paris, Prague, Rio de Janeiro, or Beijing by looking at the images of the period? Why did each of these cities produce a specific sort of record? Narrated in first person, the film reflects on that which is revealed by four sets of images: footage of the French students' uprising in May of 1968; the images captured by amateurs during the invasion of Czechoslovakia in August of the same year, when forces led by the Soviet Union put an end to the Prague Spring; shots of the funerals of students, workers, and police officers killed during the events of 1968 in the cities of Paris, Lyon, Prague, and Rio de Janeiro; and the scenes that a tourist--the director's mother--filmed in China in 1966, the year of the Great Proletarian Cultural Revolution"--Container.

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Linked Data


Primary Entity

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