IN OUR TIME OF UNCERTAINTIES, the consolidation of the documentary as art that is autonomous and plural, intimate and public, urgent and perennial is symptomatic. In screens of all sizes, from movie theaters to smartphones, from home theaters to screenings in galleries, to our computers every day. The impact of the digital revolution has not made each of us a documentarian exactly as the eternal Ricky Leacock (one of the irreparable losses of the year that passed) foresaw, but it has sensitized us to the genre as never before in audiovisual history. We see a potential documentary in every corner, in every story, as if the technological advance had foreshadowed the instability of the times and the urgency of its record. The world seems like it is in a trance, as symbolized in the outstanding image of the Japanese-Brazilian photographer Roberto Yoshida on the cover of this catalogue. The challenge won by every artist present in this year's vigorous selection is to interpret it, be it aiming for the present or recuperating the past with an intimate dimension or social scope, or all of this now at the same time.

This is what the two artists paid tribute by the retrospectives of this year do, in different ways. Cinemateca Brasileira's restoration of the greatest classic of Brazilian documentary cinema, "Twenty Years Later" (1984) by Eduardo Coutinho, offers us the rare opportunity to reconstruct the first steps of forming one of the most expressive contemporary documentary filmographies.

On the other hand, Argentinean filmmaker Andrés Di Tella has developed in the last quarter century a delicate and complex body of work that at once investigates his own identity and the spirit of the time, the coupling between records of yesterday and those of today. It is a privilege to receive him as the first exclusive focus in the country on his films. None of this would be possible without the loyal partnership of the official institutions and companies that have congregated for the viability of this festival, as well as the federal and state laws of fiscal incentives for culture.

Our effusive thanks also go to the filmmakers, producers and technicians that have chosen It's All True to share their works.

Welcome all!