<table width="400" border="0" cellpadding="0" cellspacing="0"> <tr> <td><font color="#000000" size="2" face="Arial, Helvetica, sans-serif"><strong>THE PROJECT </strong></font><font size="2" face="Arial, Helvetica, sans-serif"><br> <br> <br> São Paulo International Film Festival invited several international film directors to begin the project of a feature film with distinguish visions on the city, raising the importance of the foreign glance with focus on the peculiarities of our metropolis, the third largest city in the world. <br> <br> The result is Bem-Vindo a <strong>São Paulo / Welcome to São Paulo</strong>, produced in three years and ready to be theatrically released in 2007. The entire feature is narrated by Caetano Veloso, who also contributes with his classical song Sampa twice in this project. <br> São Paulo is the largest city of the Southern Hemisphere, with an incessant dynamics of cultural mixtures, with immigrants of all the world and migrants of all parts of Brazil. The gathering of these peculiarities are seen through to the following film directors's sensibilities and their present segments in the feature film <strong>Welcome to São Paulo</strong>, in the presentation order that proceeds: <br> <br> <font color="#FF0000"><strong>MARCO ZERO / GROUND ZERO</strong></font>, viewed by <strong>Phillip Noyce</strong> (AUSTRALIA) - With several testimonials about the peculiarities of São Paulo, the metropolis that hides social, cultural and ethnic differences, all around the ground zero of the city, in the whereabouts of Sé's Cathedral. Phllip Noyce's nervous camera registers a curious tourism, with a group of students in a trip by the historical center of São Paulo and a biblical preacher of the new era, preaching out of the conventional Catholic cathedral and with a sense of drama close to the aesthetics of Glauber Rocha's Terra em Transe. <br> <br> <font color="#FF0000"><strong>NATUREZA-MORTA / STILL LIFE</strong></font>, viewed by <strong>Renata de Almeida and Leon Cakoff </strong>(BRAZIL). The documentation of a photographic exhibition, with several generations of spectators, contemplates on the importance of memory and it points out the fright before the irreversibility of time. <br> <br> <font color="#FF0000"><strong>MANHÃ DE DOMINGO / SUNDAY MORNING</strong></font>, viewed by <strong>Mika Kaurismäk</strong>i (FINLAND). Documents on the remote and vague time of the metropolis, known by its agitations, with its slow awakening on a Sunday morning. A sensitive counterpoint about the occupation of spaces usually invisible in the chaotic days of the week. <br> <br> <font color="#FF0000"><strong>A GARÇONETE / THE WAITRESS</strong></font>, viewed by <strong>Kiju Yoshida</strong> (JAPAN). A visit to the neighborhood of Liberdade, where ponders the largest Japanese colony of the world, reveals the suffering and the resistance faced by three generations of immigrants from Japan, until their integration with the Brazilian culture. The Japanese immigration began in the beginning of the 20th century and it came to substitute the slave labor of the black people in the coffee plantations. These revelations are heard through an interview with Takeko Oyama, a veteran waitress of a restaurant of Japanese culture, led by actress Mariko Okada, Yoshida’s wife and first lady of the Japanese movies. <br> <br> <strong><font color="#FF0000">CONCRETO / CONCRETE</font></strong>, narrated by <strong>Caetano Veloso</strong> (BRAZIL). A poet, from the top of a building, names and points out the constructions that he sees with the names of trees in the tupi language: jacarandá, caiuá, paraparaí, urucum, ibirapitanga, orabutã, ibirapiranga, ibirapitã (brazil wood)... A fort and contrasting plastic effect impregnates the buildings with colors, shades and touching twilight lights. Originally, the whole territory of the state of São Paulo was covered with Atlantic rain forest. The forests in concrete, baptized again with the solemn names of trees in tupi, they echo as a new concrete poem, as a new Caetano Veloso's song. <br> <br> <font color="#FF0000"><strong>NOVO MUNDO / NEW WORLD</strong></font>, viewed by <strong>Jim McBride</strong> (USA). At the same time in which the director's glance travels by neighborhoods of glorious past and deteriorated landscapes of São Paulo, a touching resistance is observed in its color and in its inhabitants' daily life. The chronicle reinforces that "the landscape that resists guards the memories of a homelike past; the culture that resists is that one we don't want to see".<br> <br> <font color="#FF0000"><strong>ENSAIO GERAL / A REHEARSAL FOR ALL</strong></font>, viewed by <strong>Hanna Elias</strong> (PALESTINE). The generous document of the whole process of a general rehearsal of a traditional Samba school of São Paulo, Vai-Vai, with its several generations involved, in the middle of a street of Bixiga, a traditional neighborhood known by its connection with generations of Italian immigrants.<br> <br> <font color="#FF0000"><strong>ALGUMA COISA ACONTECE / SOMETHING PULLS</strong></font>, viewed by <strong>Maria de Medeiros </strong>(PORTUGAL - FRANCE). The emblematic corner between the avenues Ipiranga and São João, eternalized in the song Sampa, by Caetano Veloso, it is visited with emotion by the camera of Maria de Medeiros as a film director and as a great actress. As actress, we hear in her whispered voice the lyrics of Sampa, that begins with "Something happens in my heart, only when it crosses Ipiranga and São João Avenue...".<br> <br> <font color="#FF0000"><strong>AQUÁRIO / AQUARIUM</strong></font>, viewed by <strong>Tsai Ming-Liang</strong> (TAIWAN). São Paulo has the largest concentration of buildings in the world. Places where the solitude hides itself and it is only seen when there is breathlessness. When it lacks air. That produces a window where less it is waited. We will see salesmen in the city with their goods, in a rainy day: umbrellas, brooms, dusters and... ornamental fish, isolated, in plastic bags hung in a clothes-line. These images end up serving as introduction to a big one 'aquarius' visited by the film director, that puts his camera in front of a decadent building and visits its apartments, revealing its inhabitants' intense drama. <br> <br> <strong><font color="#FF0000">ESPERANÇA / HOPE</font></strong>, viewed by <strong>Ash</strong> (USA). A night course in the city, with its deserts and agitation. The film dialogues first with a night character, a transvestite, speaking about his past, his dreams and his plans to find a charming prince and to lead a better life. Continuing his search for characters filled with hope, it approach to a middle class young woman, in an elegant bar of the city, that dreams to be a 'top model' and to conquer the catwalks of the world. <br> <br> <font color="#FF0000"><strong>FARTURA / PLENTIFUL</strong></font>, viewed by <strong>Mercedes Moncada</strong> (MEXICO) and <strong>Franco De Peña</strong> (VENEZUELA). No matter how middlemen a meal has before arriving to the plate, the food as a merchandise has the dimension of the metropolis in which it circulates. The two Latin-American film directors left in search of the characters responsible for the color, the set design and the whole charm of the street fairs. <br> <br> <font color="#FF0000"><strong>FORMAS / SHAPES</strong></font>, viewed by <strong>Andrea Vecchiato</strong> (ITALY). One can say that you should not credit to the past of a city what one waits for its present or for its future. That the marks of a city are recorded by the people that have them. This is the city that unmasks the film director's glance to us, looking for the symbols that waives to us with the fiction of much closer and better futures. <br> <br> <strong><font color="#FF0000">SIGNOS / SIGNS</font></strong>, viewed by <strong>Max Lemcke</strong> (SPAIN). The communication symbols of the city in a vertiginous collage. The ways of expression of a city, the excess of visual information and the seduction intended by each one of them. Among all the signs, modern and traditional, the attentive glance should really select those that are vital in the daily traffic. <br> <br> <font color="#FF0000"><strong>MODERNIDADE / MODERNITY</strong></font>, viewed by <strong>Amos Gitai </strong>(ISRAEL). A new grand hotel of the city approached by the concepts of a futurist architecture. The metropolitan airport compared to supermarkets. The resources of a digital camera seen as modern fetishes. The solitude in the corridors of the grand hotel and its counterpoint seen by the window, that illustrates a self-devouring city, in a constant reconstruction process.<br> <br> <font color="#FF0000"><strong>ESPERANDO ABBAS / WAITING FOR ABBAS</strong></font>, viewed by <strong>Leon Cakoff </strong>(BRAZIL). The encounter and the dialogue with a character observed in São Paulo by film director Abbas Kiarostami and the subject of a script on abandoned children in the Paulista Avenue, where also ponders the largest wealth of the country. The former street kid, until today a homeless, nervous and concerned in defending his integrity, sends a simple and touching message for the director of Taste of Cherry. <br> <br> <font color="#FF0000"><strong>ODISSÉIA / ODYSSEY</strong></font>, viewed by <strong>Daniela Thomas</strong> (BRAZIL). The unusual situation of an elevated road that on Sundays is occupied as a leisure area. The road is traveled equally in the days when the urban traffic is sovereign in its domains. Equally a character of her feature film Foreign Land, co-directed with Walter Salles, the road acquires a homeric dimension here, besides offering surprising imageries of great impact. <br> <br> <font color="#FF0000"><strong>BEM-VINDO A SÃO PAULO / WELCOME TO SÃO PAULO</strong></font>, viewed by <strong>Wolfgang Becker</strong> (GERMANY). A vertiginous descent on São Paulo, from the point of view of a satellite, until approaching the buildings and the streets. Then, an arterial trip begins, in search of the city's identities. The search finishes at a vinyl records store and in the detail of a needle that lands on a record. And it plays Sampa, originaly recorded by Caetano Veloso.<br> <br> Each segment is illustrated by a collection of old stills from the beginning of the 20th century in São Paulo. Those photographs are compared with today’s reality and transformation of the same places. </font></td> </tr> <tr> <td><div align="center"><font color="#FF0000">____________________________________</font><br> <font size="2" face="Arial, Helvetica, sans-serif"><strong><strong> </strong></strong></font></div> <font size="2" face="Arial, Helvetica, sans-serif"> <div align="left"> <p align="left"><strong><br> Bem-Vindo a São Paulo / Welcome to São Paulo <br> <br> </strong>Screenplay<strong><br> Leon Cakoff </strong></p> <p align="left">Cinematographers<strong><br> Aloysio Raulino, Andrea Vecchiato, Ash, Franco de Peña, Hanna Elias, Jim McBride, Max Lemcke, Mercedes Moncada, Mika Kaurismäki, Phillip Noyce, Samuel Kobayashi, Tsai Ming Liang, Vanderlei Gussonato, Vitor Amati, Wolfgang Becker</strong></p> <p align="left">Music<strong><br> André Abujamra</strong></p> <p align="left">Adicional music<strong><br> The last ten minutes of credits in the film presents a rare fotages with the composer Adoniran Barbosa singing his classic Trem das Onze, elected as the best song ever made about São Paulo; there is also the the firs mess composed in São Paulo in 1774, recorded by Americantiga under the regency of Ricardo Bernardes; and also a new André Abujamra’s song using the voice of a Caetano Veloso in the segment “Concrete”. </strong></p> <p align="left">Producer<strong><br> Renata de Almeida, Leon Cakoff</strong></p> <p align="left">Production company<strong><br> Mostra Filmes / Mostra Internacional de Cinema / São Paulo International Film Festival <br> Rua Antonio Carlos, 288 - 01309-010, São Paulo - Tel. 11. 3141.2548 - Fax. 11. 3266.7066 <a href="http://www.mostra.org/welcome.htm">www.mostra.org/welcome.htm</a><br> <a href="mailto:info@mostra.org">info@mostra.org</a></strong></p> <p align="left">100 minutos <strong><br> Color and b&w</strong></p> Distribution<br> <strong><font color="#000000">VideoFilmes</font></strong><strong><br> <br> </strong></div> </font></td> </tr> </table> </body> </html>