Ivone Margulies examines the output of Filmes de Plástico, a celebrated independent production company from Contagem, Minas Gerais. Her article focuses on two feature films: Temporada (Long Way Home, dir. André Novais Oliveira, 2018), and No Coração do Mundo (In the Heart of the World, dir. Gabriel Martins and Maurilio Martins, 2019.) The essay defines two forms—the portrait and the vista—used to articulate the relationship between individual and a broader social world in the films’ realist aesthetic.
Filmes de Plástico’s Plural Realism
Ivone Margulies is professor of Film Studies at Hunter College and the Graduate Center at City University of New York (CUNY). Her most recent books are In Person: Reenactment in Postwar and Contemporary Cinema (Oxford University Press, 2019) and On Women’s Films: Across Worlds and Generations, co-edited with Jeremi Szaniawski (Bloomsbury, 2019.) Her other publications include Nothing Happens: Chantal Akerman’s Hyperrealist Everyday (Duke University Press, 1996) and Rites of Realism: Essays on Corporeal Cinema (ed., Duke University Press, 2003.) She co-edited with B. Ruby Rich a Film Quarterly dossier on Chantal Akerman and translated and staged (with Flora Sussekind) Akerman’s Une Famille en Bruxelles in Portuguese.
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Ivone Margulies; Filmes de Plástico’s Plural Realism. Film Quarterly 8 December 2020; 74 (2): 39–46. doi: https://doi.org/10.1525/fq.2020.74.2.39
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