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Travessias Brazilian Film Festival 2022 - Hybrid Pass
Northwest Film Forum
Seattle, WA
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Travessias Brazilian Film Festival 2022 - Hybrid Pass
May 1922 [In-Person] / May 1929 [Online]

HYBRID FESTIVAL PASS (both in-person and virtual)

$40 NWFF Members
$5585 General; priced on a sliding scale

*** Public safety notice ***

NWFF patrons will be required to wear masks that cover both nose and mouth while in the building. Disposable masks are available at the door for those who need them. To be admitted, patrons ages 5+ will also be required to present either proof of COVID-19 vaccination OR a negative result from a COVID-19 test administered within the last 48 hours.

NWFF is adapting to evolving recommendations to protect the public from COVID-19. Read more about their policies regarding cleaning, masks, and capacity limitations at bit.ly/nwffcovidsafety

** Co-presented with the Center for Brazilian Studies at UW, Show Brazil and Brazil Center! **
May 1922 [In-Person] / May 1929 [Online]

This festival of contemporary Brazilian films gives marginalized voices the mic in discussions of race, sexuality, and governance. The 2022 fest runs May 1922 in person, May 1929 online, with short films about the ebbs and flows of life, identity, and belonging and fierce features from a metacinematic kidnapping drama to an enduring saga of Indigenous Brazilians fight for land rights.

Curated by Calac Nogueira and Livia Lima, with support from Brazilian cinema scholar Emanuella Leite Rodrigues de Moraes, and Jonathan Warren, Professor and Director of the Center for Brazilian Studies. 2022 festival graphic design is by Lucas Franco Colusso.

Festival Passes:

HYBRID FESTIVAL PASS (both in-person and virtual)
$40 NWFF Members
$5585 General; priced on a sliding scale

Short Film Programs:
Essays From the Future (Ensaios do futuro)
(in-person May 20 at 7:30pm & May 22 at 5pm | online May 1929)
In Colmeia, a woman recently released from prison tells her story for the first time. Having christened herself Huri, she recounts how she faced judgment from neighbors and family members for defending herself from sexual assault. Set against a deceptively tranquil backdrop of lapping waves, Colmeia is intimate and poetic, enlivened with Huris interpretations of tarot and dreams.

(Maurício Chades, Brazil, 2021, 15 min, in Portuguese with English subtitles)

The White Death of the Black Wizard (A morte branca do feiticeiro negro)
Memories of Brazils history of slavery overflow into ethereal landscapes and harrowing noises. Through a poetic visual essay, an intimate sensory journey reflects on the silencing and erasure of Black people in the African diaspora.

Awarded 2020 Best Short Film by Brazilian Film Critics Association.

(Rodrigo Ribeiro, Brazil, 2020, 10 min, in Portuguese with English subtitles)

Apiyemiyekî? explores Brazilian educator Egydio Schwades ambitious efforts to record the memories of the Waimiri-Atroari, a tribe native to the Amazon who suffered acutely under Brazils military dictatorship from 1964-1985. In the 1970s, the government appropriated their land to build the BR-174 highway while subjecting the tribe to chemical weapons and deadly exogenous diseases. Apiyemiyeki tells this history non-linearly, to haunting and hypnotic effect. The film pulls from Schwades corpus of over 3,000 drawings made by Waimari-Atroari, later used as forensic evidence of genocide in a governmental truth commission. Inspired by the pioneering educator Paulo Freire, Schwade emphasized the Waimari-Atroaris sovereignty as learners while teaching them written language at their urging. Through stylistic innovations, Apiyemiyekî? conjures an atmosphere of dread amid unearthed memories. In superimposing the tribes drawings onto unstable black-and-white landscapes, set to a dissonant score, Apiyemiyekî? captures the fractured nature of traumatic memories.

(Ana Vaz, Brazil, 2020,  29 min,  in Portuguese with English subtitles)

From domestic images, food reveals a way of living in community.

(Yasmin Thainá, Brazil, 2019, 27 min, in Portuguese with English subtitles)

Brazilian BLM
(in-person May 21 & 22 at 7:30pm | online May 1929)
Their Happiness (A felicidade delas)
The electrifying Womens March takes a turn when police officers surround the protesters. In the resulting chaos, two girls must traverse alleyways and sneak into abandoned buildings while fleeing the cops. But moments of shared solace in the dark build to an astonishing intimacy between them.

(Carol Rodrigues, Brazil, 2019, 14 min, in Portuguese with English subtitles)
In this meditative visual poem inspired by the work of Virgilio Piñera, a seaside community used to drudgery and toil is visited by Yemaya, a charismatic sea goddess. Pattaki utilizes primordial symbolism of the water, sky, and moon to create an eerie and mystical atmosphere. Moments of prayer and ritual, solace and ecstasy, build to a startling climax.

(Everlane Moraes, Brazil, 2019, 21 min, nonverbal)

Swinguerra focuses on disadvantaged queer communities of color in Recife, Brazil, with an emphasis on transgender and nonbinary performers. The film features three contemporary dance stylesswingueira, brega funk, and passinho da malocaas performed by three competitive dance groups. These mixed dance styles recall Brazils colonial and slave trade history, where music and dance functioned as discreet methods of organizing politically under oppressive regimes. Fast-paced, athletic, sexy, dreamlike, and aggressive, the dance styles, like the music, make Swinguerra an exhilarating and unforgettable viewing experience, illustrating how dance and music offer rich sources of agency, resistance, and community for marginalized individuals.

In the sports court of a school, dancers rehearse under the watchful eye of a choreographer. Tensions haunt personal desires as they are observed by a rival troupe.

(Bárbara Wagner & Benjamin de Burca, Brazil, 2019, 23 min, in Portuguese with English subtitles)

Read more
Feature Films:
Island (Ilha)
(in-person May 20 at 7pm & May 21 at 5pm | online May 1929)
(Ary Rosa & Glenda Nicácio, Brazil, 2018, 96 min, in Portuguese with English subtitles)

In the meta thriller Island, a drug dealer named Emerson kidnaps Henrique, an esteemed director, and brings him to a secluded island. Emerson demands Henriques help in crafting his magnum opus, a film meant to erase the lines between fiction and reality. Over the course of auditions and rehearsals, all with local townspeople, Emerson pushes the boundaries of organic cinema, sometimes with dangerous consequences. Mining dark humor out of Emersons grandiosity, Island is a wild ride through the currents of artistic obsession.

This Land is Our Land! (Nh yãg m yõg hãm: essa terra é nossa!)
(in-person May 21 at 4:30pm | online May 1929)
(Isael Maxakali, Sueli Maxakali, Carolina Cangucu & Roberto Romero, Brazil, 2020, 70 min, in Portuguese with English subtitles)

This Land is Our Land! is a powerful and urgent profile of the Maxakali or Tikmuun, a Brazilian indigenous group struggling with the impacts of deforestation and white vigilante violence. Threaded through with folklore and ancient wisdom, the film implores the viewer to remember that The earth is our kin!

Its Tikmuun subjects wander through a landscape transformed by agriculture: trees replaced with cattle feed, ponds no longer hospitable to fish, roads overtaken by native plants, and fields cordoned off with barbed wire. Even the limits of their reserve have been encroached upon in recent years. As they walk familiar, primordial paths, they pray that the land will one day belong to them and the yamiyxop spirits once again.

Animated by raw anger and resentment, they also decry a double standard where murders against Tikmuun go unpunished while they are over-penalized for petty crimes. Tense interactions with hostile white strangers are evidence of pervasive prejudice. But as This Land is Our Land! powerfully demonstrates, the Maxakali remain defiant in the face of colonization, determined to tell their stories. They will continue to chant in unison, This land is our land!

Sun Inside (Um filme de verão)
(in-person May 21 at 7pm & May 22 at 4:30pm | online May 1929)
(Jo Serfaty, Brazil, 2019, 94 min, in Portuguese with English subtitles)

Sun Inside tells the interlinked stories of four Brazilian teens living in the slums of Rio de Janeiro as they graduate into an uncertain future. The good-natured Junior films everything around him on his shaky hand-held camera. His sarcastic best friend Karol fantasizes about living in Japan while fruitlessly job-hunting. Their friends Caio and Ronaldo struggle to define their Yoruba-Christian faith and sexuality, respectively. In a landscape of dilapidated housing and skies crowded with power lines, they learn to make their own fun. Yet the turmoil of power outages, water shortages, and teacher strikes is always threatening to encroach.

Sun Inside captures the energy of languid afternoons at the beach and intoxicating nights at underground concerts. In tracing the currents of exhilaration and boredom, self-discovery and self-doubt, the film poignantly explores what it means to be on the cusp of adulthood.

My Own Private Hell (Inferninho)
(in-person May 22 at 7pm | online May 1929)
(Guto Parente & Pedro Diógenes, Brazil, 2018, 82 min, in Portuguese with English subtitles)

Inferninho takes place entirely in a dimly-lit bar populated by an eccentric array of drunks, artists, and wanderers of various kinds. The arrival of a sensitive sailor named Jarbas shakes up the bars glamorous owner, Deusimar. Bound by a shared wit, the two quickly fall into an intense love affair. But problems pile up for the couple when Jarbas debt collectors come calling and a menacing salesman tries to buy Deusimars property. With a campy aesthetic and imaginative fantasy sequences, Inferninho explores the clash between pragmatism and the desire for self-reinvention.


Northwest Film Forum (View)
1515 12th Ave.
Seattle, WA 98122
United States





Ticketing, concessions, cinemas, restrooms, and our public edit lab are located on Northwest Film Forum's ground floor, which is wheelchair accessible. We have a limited number of assistive listening devices available for programs hosted in our larger theater, Cinema 1. These devices are maintained by the Technical Director, and can be requested at the ticketing and concessions counter. The Forum does NOT have assistive devices for the visually impaired, and is not (yet) a scent-free venue. Our commitment to increasing access for our audiences is ongoing, and we welcome all public input on the subject! If you have additional specific questions about accessibility at our venue, please contact our Executive Director Cara Mia Harris at caramia@nwfilmforum.org

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