BIMIFF #4 - ENG

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B I M I F F I N T E R V I E W 51Another production challenge was the casting process. Howdid you select the actors (and non-actors) that composed thefilm, and especially the actresses that played the titlecharacter in different phases of her life?At first, we intended to use only non-actors in the castingpreparation process, however, we realized that it wouldbe very difficult, mainly due to the short preparationtime of our schedule, so we invited ten professionalactors, mostly from Florianópolis, all volunteers, to playthe main roles in the film: Chico Caprario as Albertina'sfather, Eliane Carpes as Albertina's mother, MarcinhoGonzaga as Maneco Palhoça, Sandro Maquel asCandinho, Luciano Souza as Mayor Pedro Bittencourt,Joana Felício as Dalva, Angélica Mahfuz as DoctorMartha, Carlos Zoega as the delegate, Lucas Bonfim asGeraldo, Geraldo Cunha as Hugo Berndt. Theprofessional actors ended up also working as curators onset, providing exchanges of knowledge and experiencewith the non-actors.This bond between professional actors and non-actorsstarted during the general casting preparation, whichwas done mainly through the Meisner Technique appliedby the project's direction nucleus, mixing, wheneverpossible, non-actors with professional actors.There were about 30 candidates for the roles ofAlbertina, in the first phase at 6 years old, and in thesecond phase at 13 years old, we ended up selecting thesisters from Imaruí, Suieny Espíndola (7 years old at thetime), and Jhulienny Espíndola (13 years old at the time).Among the candidates, many already practiced theaterand had their expressiveness to the fore, but we chose theEspíndola sisters because they were very shy and alreadyhad the profile of our character, and we believe that itwould be easier to build the character in them than todeconstruct it from other child actresses who alreadyhad certain theatrical vices. Another factor for theselection of the sisters was the phenotype, besides havingphysical similarity between them, they had physicalsimilarity with the only existing picture that representsAlbertina Berkenbrock, a painting by professor HugoBerndt, there is no picture of Santinha. We were happywith our choices, the girls dedicated themselves hard,they received all the support from their families and thetechnical team, and today they have already won severalnational and international awards and are a pride to theSanta Catarina and Brazilian Cinema.An interesting choice for the finalization of the feature filmwas to opt for black and white cinematography. How did thisaesthetic choice come about?Our Art Director Avelino Los Reis has vast technicalexperience and could not be present during the shootingphase, however, he was present during the researchphase, the popular cinema course, and during preproductionin the field, choosing the sets and orientingthe art team composed of popular people. Avelino left usall the projects for each location and set, and thecommunity, coordinated by the art team and directed bySara Calazans, executed every detail of these projects.The choice of color, of black and white, had twofundamental factors, the first being that thephotographic references of the time studied throughoutthe research were black and white.We believe that maintaining the color pattern of theperiod photos would strengthen the power of thedramaturgy of the film image; another factor was thequestion of viability, since we have no financialresources, black and white would end up making theproduction viable by simplifying the composition of theaesthetic conception, be it with costumes, scenery,locations, etc.This bond between professional actors and non-actorsstarted during the general casting preparation, whichwas done mainly through the Meisner Technique appliedby the project's direction nucleus, mixing, wheneverpossible, non-actors with professional actors.There were about 30 candidates for the roles ofAlbertina, in the first phase at 6 years old, and in thesecond phase at 13 years old, we ended up selecting thesisters from Imaruí, Suieny Espíndola (7 years old at thetime), and Jhulienny Espíndola (13 years old at the time).Among the candidates, many already practiced theaterand had their expressiveness to the fore, but we chose theEspíndola sisters because they were very shy and alreadyhad the profile of our character, and we believe that itwould be easier to build the character in them than todeconstruct it from other child actresses who alreadyhad certain theatrical vices. Another factor for theselection of the sisters was the phenotype, besides havingphysical similarity between them, they had physicalsimilarity with the only existing picture that representsAlbertina Berkenbrock, a painting by professor HugoBerndt, there is no picture of Santinha.
B I M I F F I N T E R V I E W 52We were happy with our choices, the girls dedicated themselves hard, they received all the support from their familiesand the technical team, and today they have already won several national and international awards and are a pride to theSanta Catarina and Brazilian Cinema."Albertina" behind the scenes"Albertina" has been increasingly successful in festivalsaround the world, being selected, nominated, and awarded inseveral categories in film competitions in Europe, USA, andBrazil. But how has the film been received in countries whichdo not necessarily have a Catholic majority?Honestly, I can't say concerning this subject, what weknow is that the USA, France, and Italy are the countrieswhere the film has won the most awards, currentlyAlbertina is available on some platforms abroad (USA,Mexico, Europe, South America), but as I said in aprevious question, despite having a Catholic theme, thefilm is a period drama that tells the story of a murder andits resolution, using a popular language so as not to limitthe target audience to the Catholic one.We know that one of the main obstacles to thecinematographic career of Brazilian independent films isdistribution in theaters. Even more so because the film wasfinished in the middle of the pandemic. With this in mind, howis the distribution schedule of the feature film in this momentof increased post-pandemic flexibilization?Unfortunately, our release occurred in the middle of thepandemic when the theaters were closed, we had anagreement with the Cinesystem movie theater chain thatwe believe would open doors for broadcasting in newtheaters, including independent ones, which was notpossible due to the necessary COVID prevention decrees.Today the film is being distributed by PROMOVERE andcan be found on various platforms such as NET Now,VIVO PLAY, LOOKE, KLIC, LATAM, Lumine TV, etc.The film "Albertina" is your 8th film in an already diverse and successful career in 7th Art. However, these are surely only the firststeps in your beautiful filmography. Can you tell us more about your future projects?This year I had the pleasure of releasing my first book which was released in the form of a film script by Viseu, the actioncomedy "Amadeu and the Wood". The plot of the script is based on the action adventures of Brazilian cinema, in acontemporary tone of portraying world geopolitics and the war on drugs. My vision as screenwriter and director ismodulated through the " Stone Soup Aesthetic", a cultural manifesto whose execution.
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BIMIFF #4 - ENG

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