{"id":12547,"date":"2017-02-24T19:40:00","date_gmt":"2017-02-24T19:40:00","guid":{"rendered":""},"modified":"2026-06-29T01:18:58","modified_gmt":"2026-06-29T01:18:58","slug":"ficunam-reune-el-trabajo-del-cineasta","status":"publish","type":"post","link":"https:\/\/entrepalabrasmxdigital.com\/?p=12547","title":{"rendered":"FICUNAM re\u00fane el trabajo del cineasta sobreviviente a la censura brasile\u00f1a, Luiz Rosemberg Filho"},"content":{"rendered":"<div align=\"center\" style=\"background-color: white; color: #414042; margin-bottom: 8px; margin-top: 8px; text-align: justify;\">\n<\/div>\n<ul>\n<li><i><span style=\"font-family: Arial, Helvetica, sans-serif;\"><strong style=\"color: #212121;\">La Cineteca<\/strong><strong style=\"color: #212121;\">&nbsp;Nacional<\/strong><strong style=\"color: #212121;\">&nbsp;ser\u00e1 sede de esta retrospectiva que contempla la proyecci\u00f3n de 12 t\u00edtulos entre largometrajes, cortometrajes y&nbsp;collages<\/strong><\/span><\/i><\/li>\n<li><strong style=\"color: #212121;\"><i><span style=\"font-family: Arial, Helvetica, sans-serif;\">La muestra incluye cintas recientemente recuperadas despu\u00e9s de haber sido consideradas perdidas<\/span><\/i><\/strong><\/li>\n<\/ul>\n<p><\/p>\n<div style=\"background-color: white; color: #414042; margin-bottom: 8px; margin-left: 18pt; margin-top: 8px; text-align: justify;\">\n<\/div>\n<table align=\"center\" cellpadding=\"0\" cellspacing=\"0\" class=\"tr-caption-container\" style=\"margin-left: auto; margin-right: auto; text-align: center;\">\n<tbody>\n<tr>\n<td style=\"text-align: center;\"><a href=\"https:\/\/blogger.googleusercontent.com\/img\/b\/R29vZ2xl\/AVvXsEiKvgqVtmh76qe4p9ickFHfdG3CJBn4rrCthyphenhyphen5wFI5EVO19k5Qla_staPtXLR8kUhOfH28PJYHgZMwLdM2uTzZWZoAp95-jYT0X-Ihsm4GD2pt5EJIpRlLcD4oV27w7CrwrPfxCAwbNCmq0\/s1600\/x21.jpg\" imageanchor=\"1\" style=\"margin-left: auto; margin-right: auto;\"><img fetchpriority=\"high\" decoding=\"async\" border=\"0\" height=\"271\" src=\"https:\/\/entrepalabrasmxdigital.com\/wp-content\/uploads\/2017\/02\/x21.jpg\" class=\"wp-image-12548\" width=\"400\" \/><\/a><\/td>\n<\/tr>\n<tr>\n<td class=\"tr-caption\" style=\"text-align: center;\"><strong style=\"background-color: white; color: #414042; font-family: Arial, Helvetica, sans-serif; font-size: 16px; text-align: justify;\"><em>Santo y la vedette<\/em>&nbsp;(Luiz Rosemberg Filho, Brasil, 1982, 85 min.)<\/strong><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<div style=\"background-color: white; color: #414042; margin-bottom: 8px; margin-top: 8px; text-align: justify;\">\n<span style=\"font-family: Arial, Helvetica, sans-serif;\"><br \/><\/span><\/div>\n<div style=\"background-color: white; color: #414042; margin-bottom: 8px; margin-top: 8px; text-align: justify;\">\n<span style=\"font-family: Arial, Helvetica, sans-serif;\"><br \/><\/span><\/div>\n<div style=\"background-color: white; color: #414042; margin-bottom: 8px; margin-top: 8px; text-align: justify;\">\n<span style=\"font-family: Arial, Helvetica, sans-serif;\">Brasil, 1978. Chico Buarque lanzaba aquella famosa canci\u00f3n que se convertir\u00eda en un estandarte de resistencia y que, probablemente, a\u00fan se coreaba en silencio \u201cApesar de voc\u00ea, amanh\u00e3 h\u00e1 de ser outro dia\u201d. Pese a ti, ma\u00f1ana ha de ser otro d\u00eda; raz\u00f3n suficiente para ser censurada por el nada ambiguo y contextual \u201cvoc\u00ea\u201d, refiri\u00e9ndose al Estado brasile\u00f1o. Ese mismo a\u00f1o, Luiz Rosemberg Filho, de 35 a\u00f1os, perd\u00eda la oportunidad de ver competir en Cannes su cinta<\/span><span style=\"font-family: Arial, Helvetica, sans-serif;\">&nbsp;<\/span><strong style=\"font-family: Arial, Helvetica, sans-serif;\"><em>Cr\u00f3nica de un industrial<\/em>&nbsp;(1978)<\/strong><span style=\"font-family: Arial, Helvetica, sans-serif;\">, ya que proyectar\u00eda una mala imagen del gobierno de su pa\u00eds.<\/span><\/div>\n<div style=\"background-color: white; color: #414042; margin-bottom: 8px; margin-top: 8px; text-align: justify;\">\n<span style=\"font-family: Arial, Helvetica, sans-serif;\"><br \/><\/span><\/div>\n<div style=\"background-color: white; color: #414042; margin-bottom: 8px; margin-top: 8px; text-align: justify;\">\n<span style=\"font-family: Arial, Helvetica, sans-serif;\">Nacido en R\u00edo de Janeiro en 1943, Luiz Rosemberg Filho desarroll\u00f3 m\u00e1s de la mitad de sus pel\u00edculas durante la dictadura militar y tras el golpe de estado de 1964 que se extender\u00eda casi 20 a\u00f1os; \u00e9poca de m\u00e1xima censura en Brasil. A pesar de esto, el cineasta film\u00f3 alrededor de 50 pel\u00edculas en cinco d\u00e9cadas, aunque la mayor\u00eda no llegaron a exhibirse en ese momento. Es por eso que&nbsp;<strong>en su edici\u00f3n n\u00famero siete, FICUNAM presenta una retrospectiva integral de este sobreviviente de la censura, Luiz Rosemberg Filho.<\/strong><\/span><\/div>\n<div style=\"background-color: white; color: #414042; margin-bottom: 8px; margin-top: 8px; text-align: justify;\">\n<span style=\"font-family: Arial, Helvetica, sans-serif;\"><strong><br \/><\/strong><\/span><\/div>\n<div style=\"background-color: white; color: #414042; margin-bottom: 8px; margin-top: 8px; text-align: justify;\">\n<span style=\"font-family: Arial, Helvetica, sans-serif;\"><strong>Del 23 al 28 de febrero,&nbsp;<\/strong><strong>la Cineteca Nacional<\/strong><strong>&nbsp;acoger\u00e1 el trabajo de esta resonante voz del cine brasile\u00f1o, la cual contempla la proyecci\u00f3n de 12 obras entre largometrajes, cortometrajes y&nbsp;<em>collages<\/em>.<\/strong>&nbsp;S\u00edmbolo de la osad\u00eda y la resistencia, el integrante del llamado \u201cCinema Marginal\u201d, a lo que Rosemberg define como un \u201cnombre malicioso para denigrar la imagen de quien luch\u00f3 por un cine no oficial\u201d, no ha renunciado a la libertad en la elaboraci\u00f3n de su trabajo, luchando con lo que \u00e9l llama la censura actual de Brasil: la burocracia.<\/span><\/div>\n<div style=\"background-color: white; color: #414042; margin-bottom: 8px; margin-top: 8px; text-align: justify;\">\n<span style=\"font-family: Arial, Helvetica, sans-serif;\"><br \/><\/span><\/div>\n<div style=\"background-color: white; color: #414042; margin-bottom: 8px; margin-top: 8px; text-align: justify;\">\n<span style=\"font-family: Arial, Helvetica, sans-serif;\">Rosemberg, en su trabajo como realizador, se ha convertido tambi\u00e9n en un pensador del cine brasile\u00f1o, de sus carencias y de sus logros. Para el cineasta, el cine es m\u00e1s que un negocio, m\u00e1s que un mercado; el cine \u201cno debe estar desvinculado de las infinitas posibilidades del saber y de la poes\u00eda\u201d, declar\u00f3 en entrevista para&nbsp;<em>Globo Cultura<\/em>. \u201cA los j\u00f3venes cineastas les faltan sue\u00f1os, osad\u00eda, lenguaje, poes\u00eda, radicalismo, generosidad, pasi\u00f3n, transgresi\u00f3n y un verdadero pa\u00eds m\u00e1s all\u00e1 de lo que nos muestran los canales de televisi\u00f3n\u201d, a\u00f1adi\u00f3.<\/span><\/div>\n<div style=\"background-color: white; color: #414042; margin-bottom: 8px; margin-top: 8px; text-align: justify;\">\n<span style=\"font-family: Arial, Helvetica, sans-serif;\"><br \/><\/span><\/div>\n<div style=\"background-color: white; color: #414042; margin-bottom: 8px; margin-top: 8px; text-align: justify;\">\n<span style=\"font-family: Arial, Helvetica, sans-serif;\">La retrospectiva dar\u00e1 inici\u00f3 con la proyecci\u00f3n de&nbsp;<strong><em>Guerra del Paraguay<\/em>&nbsp;(2016)<\/strong>, el m\u00e1s reciente largometraje del cineasta. Rodada en blanco y negro, la cinta resulta radical en su experimentalismo teatral y locuaz, haciendo uso constante de la palabra y de citas de pensadores como Brecht y Nietzche para reflexionar sobre la brutalidad de los conflictos armados.<\/span><\/div>\n<div style=\"background-color: white; color: #414042; margin-bottom: 8px; margin-top: 8px; text-align: justify;\">\n<span style=\"font-family: Arial, Helvetica, sans-serif;\"><br \/><\/span><\/div>\n<div style=\"background-color: white; color: #414042; margin-bottom: 8px; margin-top: 8px; text-align: justify;\">\n<span style=\"font-family: Arial, Helvetica, sans-serif;\">FICUNAM tambi\u00e9n exhibir\u00e1 cintas recientemente recuperadas, las cuales hab\u00edan sido consideradas perdidas tras las censura del Estado brasile\u00f1o.&nbsp;<strong><em>El jard\u00edn de las espumas<\/em>&nbsp;(1970)<\/strong>, exhibida en el Festival de Berl\u00edn de 1972, traza una alegor\u00eda pol\u00edtica del Brasil de principios de los a\u00f1os setenta y resulta una de las obras m\u00e1s representativas del \u201cCinema Marginal\u201d. Asimismo,&nbsp;<strong><em>Im\u00e1genes<\/em>&nbsp;(1973)&nbsp;<\/strong>aborda las diferentes formas de represi\u00f3n durante el periodo de la dictadura militar.<\/span><\/div>\n<div style=\"background-color: white; color: #414042; margin-bottom: 8px; margin-top: 8px; text-align: justify;\">\n<span style=\"font-family: Arial, Helvetica, sans-serif;\"><br \/><\/span><\/div>\n<div style=\"background-color: white; color: #414042; margin-bottom: 8px; margin-top: 8px; text-align: justify;\">\n<span style=\"font-family: Arial, Helvetica, sans-serif;\">Tres a\u00f1os m\u00e1s tarde, Rosemberg Filho centr\u00f3 su atenci\u00f3n en uno de los temas que m\u00e1s le perturbaban: la influencia del s\u00e9ptimo arte estadounidense en el cine brasile\u00f1o. De esta manera cre\u00f3&nbsp;<strong><em>A$suntina de las Am\u00e9ricas<\/em>&nbsp;(1976)<\/strong>, una cr\u00edtica de la realidad brasile\u00f1a a partir de la vida de una prostituta que quiere ser actriz. En una mezcla de \u00f3pera, musical y comedia, el cineasta promueve un acto de libertad creativa.<\/span><\/div>\n<div style=\"background-color: white; color: #414042; margin-bottom: 8px; margin-top: 8px; text-align: justify;\">\n<span style=\"font-family: Arial, Helvetica, sans-serif;\"><br \/><\/span><\/div>\n<div style=\"background-color: white; color: #414042; margin-bottom: 8px; margin-top: 8px; text-align: justify;\">\n<span style=\"font-family: Arial, Helvetica, sans-serif;\">La muestra tambi\u00e9n incluir\u00e1 la celebrada y censurada&nbsp;<strong><em>Cr\u00f3nica de un industrial<\/em>&nbsp;(1978)<\/strong>, descartada para competir en el Festival de Cannes del mismo a\u00f1o. El largometraje narra la historia de un rico industrial conservador quien se reprocha el no haber seguido los ideales izquierdistas de su juventud. Nunca lanzada comercialmente, esta edici\u00f3n de FICUNAM brinda la oportunidad de ver una de las mejoras cintas de la cinematograf\u00eda brasile\u00f1a.<\/span><\/div>\n<div style=\"background-color: white; color: #414042; margin-bottom: 8px; margin-top: 8px; text-align: justify;\">\n<span style=\"font-family: Arial, Helvetica, sans-serif;\"><br \/><\/span><\/div>\n<div style=\"background-color: white; color: #414042; margin-bottom: 8px; margin-top: 8px; text-align: justify;\">\n<span style=\"font-family: Arial, Helvetica, sans-serif;\">Para conocer la programaci\u00f3n completa de la Retrospectiva Luiz Rosemberg Filho, consulta&nbsp;<a href=\"http:\/\/www.ficunam.org\/\" target=\"_blank\">http:\/\/www.ficunam.org\/<\/a>&nbsp;o&nbsp;<a href=\"http:\/\/www.cinetecanacional.net\/\" target=\"_blank\">http:\/\/www.cinetecanacional.net<\/a><\/span><\/div>\n","protected":false},"excerpt":{"rendered":"<p>La Cineteca&nbsp;Nacional&nbsp;ser\u00e1 sede de esta retrospectiva que contempla la proyecci\u00f3n de 12 t\u00edtulos entre largometrajes, cortometrajes y&nbsp;collages La muestra incluye cintas recientemente recuperadas despu\u00e9s de haber sido consideradas perdidas Santo y la vedette&nbsp;(Luiz Rosemberg Filho, Brasil, 1982, 85 min.) Brasil, 1978. Chico Buarque lanzaba aquella famosa canci\u00f3n que se convertir\u00eda en un estandarte de resistencia [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":12548,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-12547","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-uncategorized"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.0 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>FICUNAM re\u00fane el trabajo del cineasta sobreviviente a la censura brasile\u00f1a, Luiz Rosemberg Filho - EntrePalabras<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/entrepalabrasmxdigital.com\/?p=12547\" \/>\n<meta property=\"og:locale\" content=\"es_ES\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"FICUNAM re\u00fane el trabajo del cineasta sobreviviente a la censura brasile\u00f1a, Luiz Rosemberg Filho - EntrePalabras\" \/>\n<meta property=\"og:description\" content=\"La Cineteca&nbsp;Nacional&nbsp;ser\u00e1 sede de esta retrospectiva que contempla la proyecci\u00f3n de 12 t\u00edtulos entre largometrajes, cortometrajes y&nbsp;collages La muestra incluye cintas recientemente recuperadas despu\u00e9s de haber sido consideradas perdidas Santo y la vedette&nbsp;(Luiz Rosemberg Filho, Brasil, 1982, 85 min.) 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