GLAUCE QUEIROZ, ABC
CINEMA PRODUCTION DESIGNERS - NEW GENERATION
01.08.2016
"The need for specialised labour to meet the demand for audiovisual productions across the country led producers to research and identify new talents.
We invited a group of young Production Designers to present themselves on the production company's website.”
THEM BEHIND THE CAMERA: LOOKS AND EXPERIENCES OF WOMEN IN AUDIOVISUAL
12.04.2017
by Danielle de Noronha
There are very few opportunities for women in the film production industry in Brazil. Victoria Panero, ADF, points out that the presence of women in the associations of Directors of Photography in Latin America and almost certainly in the world is very low. According to Panero: "We are few in each association, but we are strong, that for me is interesting".
On the other hand, when we look at film sets, production companies, colleges and open film courses, we see the growing presence of women, many still seeking opportunities to grow their knowledge and experience and try to fill vacancies in professions that are traditionally male-dominated.
As the first subject in the series, we present through data and interviews some social issues that permeate the relationship between gender and audio-visual. This article aims to show the diverse perspectives and experiences of different professionals who work in various cinematic areas.
Thus, making visible their professional careers and visions (ou viewpoints) regarding the presence of women in the film market. Concurrently, the different ways of feeling and understanding the audio-visual practice.
PRODUCTION DESIGNER GLAUCE QUEIROZ TALKS ABOUT HER WORK IN TORRE DAS DONZELAS
12.19.2018
by Danielle de Noronha
"On the last day of shooting Torre das Donzelas, May 31, 2016, producer Nuno Godolphim interviewed Production Designer Glauce Queiroz about her work on the film. Now the result is featured on the ABC website.
Torre das Donzelas is directed by Susanna Lira and photography by Tiago Tambelli. The film brings new and surprising stories from the former Brazilian president Dilma Rousseff and her old cellmates at Presídio Tiradentes in São Paulo. They were held together in the 1970s in the Torre das Donzelas, just as the female prison cell was known.
The film was constructed from fragments of memories of each of the cellmates. For this, was produced an installation similar to the space of the prison where they were held. In this scenario, they meet again 45 years later to break the silence and fear of reporting the horrors of living under a dictatorship. Torre das Donzelas is a collective memory exercise by women who believe that resisting is still the only way to stay free.
The film ventures into the experimental field of documental reinvention, taking as reference some psychodrama tools. These tools are articulated in a game of scenic reconstruction, supported by an art installation similar to the prison environment. Based on drawings made by each of them, none is the same as the other; the film creates a field of subjectivity by erecting a cinematic space in which silences, pauses and reticence are as important as words. There are desires that neither prison nor torture inhibits: freedom and justice. Some reasons keep us whole even in extreme situations of pain and humiliation: friendship and solidarity.
Torre de Donzelas won the Petrobras Film Award, chosen by the public for the first time, at Mostra de São Paulo this year, in addition to being the winner of the Best Documentary category at the 20th Rio Festival and the Special Jury Prize at the 51st Brasília Festival ."
