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THE CULTURAL IMPORTANCE that documentaries
have earned over the last decades in Brazil and around
the world can be acknowledged in several ways. Among
them, the most visible refers to the growing space that
non-fiction cinematic productions have occupied, as much
in movie theaters and television channels as on the pages
of cultural journals and specialized magazines, in addition
to the more consistent attention of varied audiences, including
beginners and the already initiated.
In the attempt to understand the increased interest for
this type of artistic production, we can concentrate on
two facets that in their complementarity consist of the
logic itself of building a documentary. On one side, it is
evident that documentaries attract the attention of a variety
of spectators for their ability to weave together direct
commentaries about reality through blunt or subtle
strategies, in the measure that necessarily brings to the
center of its argument subjects that we encounter in our
day-to-day, directly or mediated by testimonies of other
people or other means of communication.
On the other hand, the profusion of linguistic devices
that documentary filmmakers activate or create reveals
an amount of possibilities that surprises even individuals
accustomed to the innovations that cinema proposes.
By approaching subjects from several fields of knowledge
— politics, economy, religion, philosophy, science, etc. —
the filmmaker re-evaluates and even re-invents the logic
of the documentary in order for form and content to
converge. The research of language that simultaneously
processes with the search for relevant content is capable
of approximating the spectator to specific aspects of cinematic
language.
In the process of consolidation of the documentary as reference
in our cultural panorama, the It's All True Festival
plays a central role: the principal event exclusively dedicated
to documentary culture in South America, the festival
was created in 1996 by the critic Amir Labaki and arrives
at its 17th edition offering audiences a great range
of Brazilian and foreign works.
A consecrated space of cinema, CineSESC transcends
simply screening films and directs its action to the confluence
of cultural and permanent education. Such positioning
makes SESC's commitment to promoting spaces
of artistic fruition and discussion explicit, and this institution's
partnership with It's All True Festival acts in this
sense, considering art in permanent connection to the development
of critical attention in relation to the world.
Danilo Santos de Miranda
Diretor Regional do SESC São Paulo
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