Saturday , May 28 2022

Cacá Diegues: Oscar can not be a supreme judge of films


This is the seventh film of Cacá Diegues to nominate Oscar since Xica da Silva in 1977. Bye-Bye Brasil, Train for the Stars, Better Days, Tieta do Agreste and Orfeu then tried.

How did you accept the assumption for Brazil?

The Great Circus Mystic was chosen by a commission by the Brazilian Cinema Academy, nominated by the Executive. This option honors me and turns me away, because I am sure that we live an extraordinary moment in the Brazilian cinema, perhaps the most quantitative and qualitative period of a cinema, with a variety that we never had before, regional, generation, political and aesthetic diversity, cinematography, etc., with a new generation of film makers making excellent films.

What will the Academy seduceu strategy be?

At the end of November, I'll go to Los Angeles to show the movie and speak to the press and Oscars voters. We do not have the resources for major campaigns, such as other films from other countries, which, as well as parties and cocktails, promote incredible events to launch in the competition. Let's just trust the quality of the movie.

Is your expectation high?

It's fair. We can not make Oscar the leading judge of our films. If we win something, so much better for promoting a Brazilian cinema. It will be spoken for at least another year, up to the next Oscar. But the Oscars and voters do not decide whether the Brazilian movie is good or bad, we're not going to Los Angeles because of that. The main judge of our films is our own, the Brazilian viewers.

You work in the Mystic Circus, with a cast that, as well as being extensive, internationally. How did she have this group with each other and to refer?

I have referred Jeanne Moreau, who could have been the biggest icon in the movie industry and she was outstanding at Joanna Francesa. We became friends. I wanted to get Isabelle Huppert here, but the movie was delayed and she did not have a date. I ended up choosing Catherine Mouchet of a legendary film, Thérèse. Everyone has worked hard. Mariana Ximenes spent months training the trapec to leave stunt. Most importantly, the whole cast gave me the kind of useless interpretation that I always want. The reality is not a cinema. A window is a representation. You can say whatever you want from my movie, except the cast.

The information comes from the newspaper S. Paulo State.

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