BIMIFF #4 - ENG

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B I M I F F I N T E R V I E W 49Chico Caprário was one of the dozens of key players who joined the project and made it possible to make it happen, suchas directors Marx Vamerlatti (Photography), Avelino Los Reis (Art), Alexandre Muratori Gonçalves (Soundtrack), HeitorCaramez (Sound), Gabriel Sanches (Audiovisual Production), the ten professional actors who volunteered, in addition tothe crew and popular actors from the region who joined the project. Chico Caprário was with me at all stages, from thepopular cinema course held in Imaruí, giving classes with me, in pre-production, in Production, and finally in editing,along with other directors who oriented me remotely while I edited the film in the middle of the pandemic in the villageof Samaipata in Bolivia with the assistance of the Bolivian Gabriel Sanches.The change from producing and directing short and mediumlengthfilms to feature films is very big and also morelaborious, given the size of the team and the hours dedicatedto audiovisual production. How was this process of filming foryou and your team?I believe that in the case of the feature film Albertina, forbeing a point out of the curve, in the case of a filmwithout resources from incentive laws, the productionwork was greater, in my case I did the executiveproduction, assisted in the production, directed, beforethe arrival of the Director of Photography MarxVamerlatti I took photos, when we lost the soundtechnician I captured the sound and finally edited, it wasa very intense odyssey and the presence of theexperienced Chico Caprario by my side brought me a lotof security. We had from the Boanova Film Companyonly the professional heads of each sector, the rest of thetechnical team was composed of local people, and thiswas only possible thanks to the work of our localproduction director Geovana Barreto and her husband,producer Maurício Danielski, and producer PriestAuricélio Costa, The first two coordinated more theresources and tasks in the Imaruí Center and PriestAuricélio concerning the tasks and resources in theregion of the São Luís neighborhood where most of thescenes were concentrated, especially in the matter of theeffectiveness of our "hot list" of the local technical crew(drivers, carpenters, cooks, electricians, animalproducers, etc.). Thus, with a predominantly mixed team,between professionals and popular, we could not apply aconventional production rhythm and opted to shoot afew scenes a day, to turn these moments on the set into a"creative leisure" (paraphrasing Domenico), where wework, teach, learn and have fun. Sometimes the directionwas left to Chico Caprário while I needed to be a way tobe in Florianópolis working on other demands of theBoanova Company and generating income to haveresources for the basic production costs of the film.Besides being an independent film, "Albertina" is also theresult of the popular film course implemented by the BoanovaFilm Company in the region. In addition to the massive andimportant participation of the population in the making of thefilm, how was the interaction between the local communityand the cinematographic work?Our Stone Soup Aesthetic is an analogy to the millennialstory of stone soup, when a man puts some stones to cookin water and a curious man passes by and decides tocollaborate by adding a handful of rice, another manarrives and collaborates with a carrot, another with apotato, another with salt and spices, and the last onecollaborate with a handful of pieces of meat.This is how we apply our stone soup to cinematographicproduction, when each integrated popular collaborateswith their productive and/or creative potential, withoutaggressively changing their routine, then this joining offorces, this social pact ends up eliminating an enormouspart of the production costs, making it viable,independent of public funding. Behind this soup, there isa very bold strategy applied in our media plan, so,fundamentally, the city with the chosen theme has amaximum number of 20 thousand inhabitants so thatour contents have an effective penetration andcapillarity, our local media mass plan, doing whatHollywood does worldwide (advertising) in the region ofthe integrated city. We can affirm that within the bases ofaction of Sopa de Pedra - which is our process cinema -we have education and propaganda, education in thepassing on of technical knowledge of cinema to thepeople (either for casting or technical crew), andpropaganda through our parallel audiovisual productioncore that during the whole process (from the popularcourse to the recordings) produces audiovisual contentfor social networks and the Boanova Company website,such content is videos, interviews These contents arevideos, interviews,
B I M I F F I N T E R V I E W 50making of, essays that bring in themselves the appreciation of the people integrated in the project, for example, the videoof the city choir conductor who is going to record music to compose the soundtrack, the bakery lady who is rehearsing tomake her debut as an actress, the ceremony of revelation of the choice of the local actresses, publicity videos of gasstations that have symbolically collaborated with fuel, of inns that have collaborated with lodging, restaurants that havedonated lunch boxes, etc. All this audiovisual material circulating in the region also generates content for printednewspapers and television, in the thesis, our social communication plan enables popular integration, and the project'sprofile is no longer that of a production company that is making a "film in the city", but of a production company that ismaking a "film of the city". An example of the effectiveness of our social communication plan based on popularpropaganda was the moment when we needed 14 riders for the scene of the hunt for the character Candinho, and 32popular volunteers mounted on their horses and dressed in character presented themselves. Despite not having thefinancial resources, of being a "financially poor" project, we counted on immeasurable wealth and abundance throughthe popular welcome.As it is a film made with the support and effectiveparticipation of the people of the region, who grew up withthis beautiful story of faith and love in their culture andexperiences, how was the reception of "Albertina" in its firstscreenings for the population that could see their faces andhistory being portrayed on the big screen?With the presence of the pandemic, unfortunately, wecouldn't make an immediate release with the integratedcommunity and we opted for a virtual pre-release onCorpus Christ day, it was a solution so that the familiescould watch the movie in the safety of their homes andalso to generate income and pay the main technical teamof professionals who represented the Boanova FilmCompany in Imaruí and region, we reached the mark of1432 tickets sold for R$39.00 reais and the movie wasavailable for 48 hours. In 2021 on August 28, during thefestivities of the anniversary of Imaruí, the currentmanagement of the city (which was from the beginningof the project in 2019 with the previous management)organized a screening in a public square with a LEDscreen and 300 chairs, the fact is that the square waspacked with an audience estimated by the PM of twothousand five hundred people settled along the entirelength of the lakefront of Imaruí, it was an incredible daywhere we all got very emotional. Subsequently, the filmreceived the award for the most public in France in theRed Movie Awards in the city of Reims and had anincredible 12 thousand hits in four days at the FilmFestival of Jaraguá do Sul, Santa Catarina, where itreceived the award for the best feature of the festival. Ithas already won about sixty awards in several countries,mostly IMDB qualifiers."Albertina" film scene
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BIMIFF #4 - ENG

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