Writing about New Cinema Club earlier this month, I remarked that “arts investment is not so much on its last legs as finding a way to get up while the world repeatedly clubs it over the head.” One tends to think on more local levels, so of course I didn’t take into account how markedly worse the situation in Brazil’s become: their Cinemateca Brasileira has been subject to disasters both natural and systematic, as outlined in this rather dread-inducing story from arturita.
Brazilian cinema is, for reasons that would take too long to qualify and quantify, not well-represented in any North American realms—festivals, distribution, retrospectives, suffice it to say all of “film culture” as we try to define that perpetually moving target—which means this tragic news does not receive an outcry à la something similar happening to, say, the Cinémathèque Française. It also makes the arrival of Limite even more vital.
Brazilian cinema is, for reasons that would take too long to qualify and quantify, not well-represented in any North American realms—festivals, distribution, retrospectives, suffice it to say all of “film culture” as we try to define that perpetually moving target—which means this tragic news does not receive an outcry à la something similar happening to, say, the Cinémathèque Française. It also makes the arrival of Limite even more vital.
- 8/27/2020
- by Nick Newman
- The Film Stage
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