The Reeler


--Brooklyn International Film Festival
--Human Rights Watch International Film Festival
--Media That Matters Festival
--NewFest LGBT Film Festival
--Rooftop Films
--Swiss American Film Festival


--Japan Cuts: Festival of New Japanese Films
--NY African Film Festival
--NY Asian Film Festival
--NY Asian American Film Festival
--NY International Latino Film Festival
--Reel Venus Film Festival
--Rooftop Films
--Rural Route Film Festival
--Scanners: The NY Video Festival


--ACE Film Festival
--Central Park Film Festival
--LaCinemaFe Film Festival
--NY Korean Film Festival
--Rooftop Films


--Coney Island Film Festival
--Impact Festival
--IFP Market/Independent Film Week
--NY Brazilian Film Festival
--NYC Midnight Movie Making Madness
--Next Reel International Film Festival


--CMJ FilmFest
--E.Vil City Film Festival
--Fordham Law Film Festival
--Hamptons International Film Festival
--Harlem International Film Festival
--NY Film Festival
--NY Bad Films Festival
--NYC Horror Film Festival
--NY Turkish Film Festival
--Pordenone Silent Film Festival Weekend at BAM
--Russian Film Week
--South Asian International Film Festival
--Woodstock Film Festival


--African Diaspora Film Festival
--Avignon New York Film Festival
--Indo-American Arts Council Film Festival
-- International Dog Film Festival
--Margaret Mead Film & Video Festival
--Native American Film + Video Festival
--NY International Independent Film and Video Festival
--NY Lesbian & Gay Experimental Film Festival
--Queens International Film Festival


--Explorers Club Documentary Film Festival
--NY Jewish Film Festival


--NY Arab and South Asian Film Festival
--Red Shift Festival
--SinCine Fest


--Craic Film Fleadh
--Fusion Film Festival
--Harlem Stage on Screen
--Independent Thai Film Festival
--New Directors/New Films
--NY International Children's Film Festival
--NY Underground Film Festival
--Westchester Film Festival


--Brooklyn Underground Film Festival
--Gen Art Film Festival
--Havana Film Festival in NY
--NY African Film Festival
--Sprout Film Festival
--Tribeca Film Festival
--Urban Visionaries Film Festival


--Bicycle Film Festival
--Bosnian-Herzegovinian Film Festival
--NY International Children's Film Festival
--NY Minute Film Festival
--NY Polish Film Festival
--Pacifika: NY Hawaiian Film Festival
--Sundance at BAM
--Be Film / Tribeca Underground Film Festival

ONGOING --Animation Block
--Asbury Shorts of New York
--Caroline's Funny Film Shorts
--First Sundays Comedy Film Festival

NYC Film Festivals

Barbosa's Salt Kiss Charms NYFF

The Reeler caught up this week with Fellipe Gamarano Barbosa, whom we last saw in January squiring his short film La Muerte es Pequena around Sundance. This time around, Barbosa is back in the city with another short, Salt Kiss, screening tonight at the New York Film Festival. Some guys have all the luck.

Or maybe not "luck," per se: Salt Kiss is a riveting, smoldering burst of fraternal love found and lost among old friends reacquainted on an island near Rio de Janeiro. As the aging ladies man Rogerio (Rogerio Trinidade) appraises the distance between himself and his engaged pal (Domingos Alcantara), his aggrieved clinging devastates the paradise around them. Their connection -- like that of the vanquished buddies in the recent Old Joy -- is irreparable; yet unlike Old Joy, with its spatial thematic overkill, Salt Kiss addresses a very specific anguish bordering on sociopathy. For all of his humor and languor, Rogerio really is a bit scary.

"My concerns in Salt Kiss are very much in a naturalistic line and working with real people instead of professional actors," Barbosa told me, adding that he had known Trinidade personally prior to shooting. "He was so magnetic, and I always thought he could be the main character in a movie. The film was really an attempt to dramatize him. I plotted it to decide what I thought were the deepest complexities in this human being. That's the kind of work that interests me at this moment; it's what really turns me on."

So far, audiences are taking to it as well. Salt Kiss was funded by the winnings from the James Bridges Development Award that Barbosa earned at Columbia University for his work with actors, subsequently claiming the Columbia Film Festival's Student Choice prize last spring. Prior to its NYFF selection, the film drew praise in the director's native Brazil, where it screened at festivals in Rio, Sao Paolo and Gramado.

Barbosa said he intends to continue working in Brazil, hoping to spark life into a staid film culture dominated by biopics and other conventional work. "It's a very immature way of looking at things, and by nature, they don't seem to converge with the interests of the country," he said. "If you take a look at Argentinian cinema, it's a much more mature cinema. It's not so concerned with making movies about Argentinian figures, and it ends up being so much more political in terms of how much it's pushing its language and how much it's rethinking its stories. One way or another, it's externalizing a state of mind of the Argentinian people right now, and ends up being much more political because of that.

"As long as you tell something from your heart --tell a story that's personal to you, that comes from a place you know and that's dear to you -- it's going to belong to your country. It's going to be relevant."

Posted at October 12, 2006 10:02 AM

Post a comment


TrackBack URL for this entry:

Search The Reeler
Join the Mailing List

RSS Feed


Send a Tip