In addition to project development workshops and professional training, BrLab promotes various activities open to the public – such as meetings, talks and debates – which are held in person and also made available online to stimulate the democratization and accessibility of the event.
The program is completely free of charge, and the recordings of the panels with LIBRAS interpretation are made available online through BrLab‘s YouTube channel.
2024
01 Oct
Panel
BrPlot
7:30 PM
Espaço Augusta de Cinema
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There is a large and unknown production of black films, both in Brazil and in many countries in Africa, Latin America, and the Caribbean. There are professionals whose works and trajectories have long been sidelined from the history of cinema and the official archives of va- rious countries. There is a dense, diverse, and paradoxically ignored body of work, known as Black Cinema, which refers to black men and women who should be known and renowned for their contributions to the audiovisual culture. In Brazil, initiatives like the Cinemateca Negra prove that there’s been a significant presence and contribution of Black professionals in all areas of audiovisual production throughout history, and publications like Empoderadas prompt us to reflect on and unders- tand how black women have been consistently wronged and erased in this historical process. These “historical recoveries,” often officially announced as “discoveries” of black professionals and women who have always existed in Brazilian cinema without proper recognition and without being recorded and cataloged, do not necessarily provoke the practical and concrete reparations that are needed. If history has been and still is very narrow, exclusionary and racist in opening up to other existences, and generally very authoritarian in admitting its weaknesses and irrationalities, what can be done as reparation, and what can we ask ourselves at this moment in light of this?
This panel is held in partnership with the +Mulheres collective.
Palestrante
Aida Bueno, PhD in Social and Cultural Anthropology, specializes in the leadership of female priestesses in African religions present in Cuba and Brazil. She researches the buying and selling of enslaved women and children in Pernambuco in the 18th and 19th centuries. Between 1999 and 2022, she worked as a Global Professor at NYU, BU, and Stanford. She is also a filmmaker and founder of Ibirí Filmes, an audiovisual production company.
Direção | Roteiro
Ana Julia Travia directed the short films Outras, Sample, Understand the Colonial Process in 5 Minutes, Love Letters and the music video O que se cala, by Elza Soares.
She wrote and directed Vozes e Tons, by Sony Music; Elas nas Telas, by Endemol Shine Brasil (available on YouTube); and the series A História Delas, by Star+. She also worked as an assistant director on Cidade de Deus – A Luta Não Para, by MAX.
2024
02 Oct
Panel
BrPlot
5:00 PM
Sesc 24 de Maio
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Reality TV shows are often labeled as “unscripted”, but that doesn’t mean writing isn’t necessary. On the contrary, writing for reality TV shows is an intense and highly specialized task. There are many formats, whether adapted or original, that involve a range of professionals. It inludes content production, research, script assistance, and post-production writing. Reality TV shows encompass genre, theme, strategy, conflict, drama, tension, and humor – everything that makes a great script!
Palestrante
Journalist, teacher, writer and screenwriter. In 15 years at Record, she was the screenwriter for 10 soap operas. She wrote two series: A Secretária do Presidente, by Emilio Boechat; and Confissões de Adolescentes, by Euclydes Marinho and Daniel Filho. She was the curator of the Festival A Jornada da Heroína, a reviewer for LPG and a finalist for the Festival Guiões 2023 in the Pilot Series category.
Palestrante
Ana Ono graduated in Audiovisual and specialized in Screenwriting for Cinema and TV at the Vancouver Film School as a scholarship recipient awarded by the SXSW Festival. She works between fiction and TV; and as a reality show screenwriter, she has worked on Netflix’s Perfect Crush and Blind Marriage, Deadly Kilos Brasil, Shark Tank Creators, and the talk-reality show Mulheres Ásias, among others.
Palestrante
Screenwriter specializing in non-fiction formats, she has worked in the reality show segment since 2007. She wrote the post-production scripts for the reality show Túnel do Amor (Multishow/Globoplay), winner of the Produ Awards 2022, in the category Best Original Latino Reality Content, and finalist for the Rose d’Or Awards 2022, in the Reality and Factual Entertainment category.
Palestrante
Jéssica Reis has been working as a screenwriter for 14 years. She received the Best Reality Show Screenplay award from the Abra Screenplay Awards for the project Ilhados com A Sogra (Netflix). She has developed formats and written the scripts for several reality shows, branded content, variety shows and documentaries.
Artificial intelligence is revolutionizing the way we write and work in the audiovisual industry. It’s a powerful and challenging tool that’s constantly evolving, bringing about a creative revolution. It’s a paradigm shift far beyond the transition from typewriters to computers. AI can serve as a writing assistant, simplifying bureaucratic tasks that would take a screenwriter hours, completing them in minutes. For screenwriters, generative AI can be a starting point for an idea, but never the endpoint. The ability to imagine and create stories remains uniquely human.
Comissão de Seleção | Palestrante
Fernanda De Capua created and directed the sitcom Insustentáveis, wrote the screenplays for the series A História Delas and Turma da Mônica – Origens, and the feature films A Suspeita and Virtuosas. She was a consultant for the scripts for Saudade Fez Morada Aqui Dentro, Gabriel e a Montanha, and for more than 20 projects in the Prodav 04 labs. Among her achievements as a producer, the films Sonhos de Peixe, Casa Grande and Quem Matou Eloá stand out.
Palestrante
Jotagá Crema is a screenwriter and teacher. He studied Mechatronics Engineering at Poli-USP and has a degree in Audiovisual from ECA-USP. He left his mark on the global scene as one of the creators, screenwriters and directors of 3%, the first Netflix Original series in Brazil. He was a creative consultant for the startup Inner AI. He teaches and provides consulting services to various professionals in the audiovisual market.
2024
03 Oct
Masterclass
BrPlot
6:30 PM
Sesc 24 de Maio
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A conversation with master Eliseo Altunaga is a deep dive into screenwriting, cinema, history, and life. It promises a cultural exchange rich with passionate, bold, and unforgettable insights. In this meeting of generations, screenwriters Thiago Dottori and Ceci Alves interview this living legend from EICTV.
Palestrante
With a degree in Hispanic Literature and Literature, he is the Dean of the Screenwriting Chair at EICTV. His work includes La Invención de las Especies, directed by Tania Hermida (Ecuador), winner of the Sloan Science on Screen Award in 2024; The Count, directed by Pablo Larraín (Chile), winner of the Golden Lion in the category of Best Screenplay in 2023; and Una Mujer Fantástica, directed by Sebastián Lelio (Chile), awarded the Silver Bear for Best Screenplay in 2017 and the Oscar for Best Foreign Language Film in 2018.
Palestrante
Screenwriter since 1999. He has written, with partners or alone, the screenplays for the following feature films: Vips, Os 3, Trago Comigo, La Vingança, Turma da Mônica: Laços, A Suspeita, Reação em Cadeia, Turma da Mônica: Lições and Meteoros. With Contardo Calligaris, he wrote all the screenplays for the 4 seasons of Psi (HBO), nominated for an International Emmy. He is the co-creator and screenwriter for the series Segredos de Justiça (TV Globo) and Pedro e Bianca, winner of the Emmy Kids International and Prix-Jeneusse (Best Children’s and Youth Series), and for the series Pais de Primeira (TV Globo). He was president of the Cinema Authors Association and coordinated the movement to create ABRA – Brazilian Association of Screenwriters, of which he was its first vice-president. He is currently president of GEDAR – Screenwriter Author Copyright Management. He is also a screenwriter for TV Globo, where he recently wrote the scripts for the series Os Outros, by Lucas Paraizo.
Palestrante
Screenwriter and director, with series and teleseries developed for HBO Max, Universal, Giros Filmes, Prodigo Films, Paranoïd BR, Jabuti Studios and Floresta/Sony Pictures. Screenwriter and editor graduated from the Escuela Internacional de Cine y TV de San Antonio de los Baños, La Habana, Cuba, PhD student in Performing Arts at the Federal University of Bahia. Her authorial work has a musical bias and her works have, as their mission, to develop political issues and give protagonism to the excluded. She is a recognized short filmmaker and documentary filmmaker, with awards in Brazil and abroad.
In this session, organized by BrLab in partnership with Cinema Verde, professionals from various audiovisual organizations will share their experiences and insights on how to practically incorporate socio-environmental actions into the production chain, starting from the project development stage. Is it possible to adopt new, more sustainable habits, services, and products without compromising the quality of audiovisual production? How can associations raise the issue of sustaina- bility and foster partnerships between production companies, suppliers, and government to drive this transformation in the industry? How can we engage professionals in this urgent and critical issue for humanity? The goal is not just to reduce our environmental impact but also to drive progress in generating positive socio-environmental effects through our work.
Palestrante
Minom Pinho has 20 years of experience in the audiovisual industry as a producer, consultant and teacher. Partner at Casa Redonda and creator of FIM Cine and Navega, she produced films such as Espaço Além – Marina Abramovic e o Brasil and Meu Querido Supermercado, both of which were released internationally between 2019 and 2022. She has recently released several award-winning films focusing on Brazilian fictional content.
Palestrante
Her career is marked by independent projects, with highlights including Comeback and Oeste Outra Vez, by Érico Rassi. She was executive producer of Biônicos (Netflix), O Porão da Rua do Grito (Sabrina Greve), Resplendor (Claudia Nunes / Erico Rassi), the soap opera Beleza Fatal (HBO) and the series Doçaria Brasileira (CineBrasil TV). She was also delegate producer on Só Se For Por Amor (Netflix).
2024
04 Oct
Panel
Reach
5:30 PM
Sesc 24 de Maio
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In recent years, the audiovisual sector has seen profound transformations due to new consumer habits and platforms, converging technologies, and a crisis of the traditional exhi- bition system, especially after the pandemic. What has also occurred in recent years is that international distribution and sales companies are increasingly producing and co-producing the films they’re set to distribute and sell, while on the other hand, production companies that began to distribute the films they produce. What explains these trends, and what are the advantages and disadvantages of such business models? Participating in the debate are an international sales agency (Film Boutique), a Brazilian distributor (Vitrine Filmes), and two production companies from France (Les Valseurs) and Brazil (Filmes de Plástico), which also have distribution branches.
Coordenador | Palestrante
Lidia Damatto graduated in Cinema from the Armando Alvares Penteado Foundation (FAAP), and also studied screenwriting and entertainment at UCLA (USA) and new distribution models at DFFB (Germany), in addition to having participated in the training programs Locarno Industry Academy and Berlinale Talents. She worked in development at the American production company Ambush Entertainment in Los Angeles and at film festivals, coordinating the first edition of Ambulante California and managing the programming of the Hollywood Brazilian Film Festival. Between 2015 and 2020, she worked as a sales and acquisitions manager at the American agency FiGa Films, also serving as a consultant in pitching, development and production laboratories. She is currently part of the team at O2 Play, a distributor part of the O2 Filmes group, managing the sale of Brazilian productions in the international market and the purchase of foreign productions for release in Brazil. She also co-founded and is a partner in the international consulting and representation company MoreThan, based in Barcelona.
Tutor | Palestrante
After studying Cultural Management in Vienna, Birmingham and Chicago, Gabor GREINER worked as a journalist and film critic. In 2003, he moved to Brussels to take over the distribution support department of the MEDIA Programme at the European Commission’s Film Fund. In 2009, Gabor became acquisitions executive at the international sales agent event, The Match Factory. In August 2010, Gabor moved to Berlin to become COO of the Franco-German sales company, Films Boutique, winner of the Golden Bear in 2017 and 2020 and the Golden Lion in 2011 and 2016. Gabor is a member of the European Film Academy.
Palestrante
Justin Pechberty co-founded Les Valseurs with Damien Megherbi in 2013. His most recent projects include the TV series Samuel, by Emilie Tronche; the feature films Heartless, by Nara Normande and Tião (Venice 2023); and the film The Animal’s Christmas (Annecy 2024). In 2023, Justin and Damien founded the animation studio PULP. Justin is a member of the Board of the César Awards and the Academy Awards.
Palestrante
Letícia Friedrich is a producer and distributor. As a producer, she produced the award-winning short film Chão de Fábrica, by Nina Kopko, and the feature film Amor, Plástico e Barulho, by Renata Pinheiro. As a distributor, she coordinated the release of more than 30 feature films, including Sem Coração, by Nara Normante, A Hora da Estrela (4K), by Suzana Amaral, and Histórias que o Nosso Cinema (não) Contava, by Fernanda Pessoa.
Produção | Palestrante
He is a producer of Plastic Films, a production company created in 2009 in partnership with André Novais Oliveira, Gabriel Martins and Maurilio Martins. Produced films awarded at festivals such as Cannes, with selections at Locarno, Sundance, Rotterdam and Berlin, in addition to representing Brazil in the Oscar 2023 campaign as the film Marte Um.
