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Rogério Sganzerla (1946 — 2004) was a Brazilian filmmaker and one of the main names of the Cinema de Invenção (or Cinema Marginal) underground movement.
Influenced by Orson Welles, Jean-Luc Godard, and José Mojica Marins, Sganzerla often used clichés from film noir and pornochanchadas. Irony, narrative subversion and collage were trademarks of his film aesthetics.
Sganzerla was born in Joaçaba, in the state of Santa Catarina, but moved with his family to São Paulo at a very young age, living there for most of his life. During the 1960s he wrote for the newspaper "O Estado de S. Paulo" ("The State of S. Paulo") as film critic, quickly being recognised as a young talent.
In 1967, Sganzerla directed his first short film, "Documentário" ("Documentary"), winning an award at the JB-Mesbla 16mm Festival. "Documentário" was quickly followed up by his first feature-length film in 1968, "O Bandido da Luz Vermelha" ("The Red Light Bandit"), which became a landmark for the movement known as Cinema de Invenção or Cinema Marginal and is still Sganzerla's most well-known film.
In 1970, he founded the "Bel-Air Filmes" production company along with fellow Cinema de Invenção filmmaker Júlio Bressane. Headed by Sganzerla, the company produced his films "Copacabana Mon Amour", "Carnaval na Lama" and "Sem Essa, Aranha" and Bressane's "A Família do Barulho", "Barão Olavo, o Horrível" and "Cuidado, Madame", all shot in Brazil during four months of 1970 and edited abroad, in England, when both Sganzerla and Bressane were banished from their home country by the then rulling military dictatorship. While in exile, both Sganzerla and Bressane continued to shoot new films.
Sganzerla's personal obsessions, such as director Orson Welles (and his infamous visit to Brazil) and musicians Noel Rosa and Jimi Hendrix, appear in many of his films, going as far as being the main subject in some of them. In 1985, Sganzerla directed the docufiction "Nem Tudo É Verdade" ("It's Not All True") about Orson Welles' arrival in Brazil to film his unfinished documentary "It's All True".
Sganzerla died in 2004, of a brain tumor, shortly after finishing his last film "O Signo do Caos" ("The Sign of Chaos").
Description above from the Wikipedia article Rogério Sganzerla licensed under CC-BY-SA, full list of contributors on Wikipedia.
相机背后
红灯强盗
导演、作家、制片人、作曲家
奥斯瓦尔迪纳斯
导演
并非一切都是真的
导演、作家
Copacabana Mon Amour
Director, Guionista, Music, Productor
小姐与恐龙
摄像师
巴西
导演、制片人、剪辑师
一切都是巴西
导演、作家、制片人、作曲家
每个人的女人
Director, Productor, Diseño de Vestuario, Diseño de Producción, Escritor
不,这个,蜘蛛
导演、作家、编辑
黑暗中的光明:红光强盗的归来
历史、作家
噪音家族
制片人
细心的女士
制片人
Os Monstros de Babaloo
摄影指导
O Lobisomem: O Terror da Meia-Noite
摄影指导
Ritos Populares: Umbanda no Brasil
导演、制片人、作家
Isto é Noel Rosa
导演、作家
O Signo do Caos
导演、剪辑师、作家、制片人
可怕的奥拉夫男爵
制片人
A Linguagem de Orson Welles
导演
深渊
Director, Editor, Productor, Diseño de Vestuario, Guionista, Music Supervisor
日历女孩
编剧
Extratos
摄影指导
História em Quadrinhos
音乐、导演
Anônimo e incomum
导演
战争花园
附加写作
面试
编辑
伊拉尼
导演、作家、编辑
B2
编辑、作家、导演
Noel por Noel
制片人、编辑、导演、作家
Perigo Negro
导演
作为演员/演员
红灯强盗
Man in the theater (uncredited)
20世纪的巴西电影
自己
Identidade
Rogério Sganzerla (Imagens de Arquivo)
A Longa Viagem do Ônibus Amarelo
小姐与恐龙
Himself (archive footage) / (Voz em Off)
A Mulher da Luz Própria
自我(存档片段)
Glauber o Filme, Labirinto do Brasil
自己
好电影院
自己
Candango:节日的回忆
自我(存档片段)
大胆!
Copacabana, Mon Amour: A Restauração
自我(存档片段)
Horror Palace Hotel
他自己
泰瑞的印记
自己
巴拉托沙丘
自我(存档片段)
A Linguagem de Orson Welles
自己
Extratos
伊凡·特里维尔
自我(存档片段)
Sganzerla 先生:灯光标志
Belair
托尔夸托·内托,热带的弯曲天使
自己
Noel por Noel
Rogério Sganzerla manda recado ao Brasil
他自己