Сейчас клиент микрофинансовой организации находится в очень выгодном положении, так как конкуренция между мфо привела в появлению такого вида займа, как займ без процентов, то есть бесплатный займ. Это, действительно достаточно новое явление на рынке финансовых услуг, совсем недавно появилось на рынке финансовых услуг, но уже стало настоящим событием среди клиентов кредитных организаций, выдающий займы.

Trilogy of Light



In keeping with the proposal of Teixeira Coelho, General Curator of the Curitiba International Biennial 2015, who selected the theme of “light as pretext, motor and matter, as well as content and form”, the FICBIC contemplates the design of the diaphragm that allows light into a camera and evokes the iris of the human eye. Through this image, we propose a Trilogy of Light: the light of the camera, the light of the eye of the filmmaker and the light-eye of the spectator. In these passages through beams of light there is a transmission of concepts and reflections on the state of cinematic art and the tensions and apprehensions it produces.

The various approaches of directors from 25 countries covered offer us panoramic views of diversified kinds of light, through their analogical or digital frames, materialized in the visual identity of the vibrating yellow color. Analogical frames, digital frames. Panorama of World Cinema, Panorama of Brazilian Cinema. Cinema Retrospective.

The selection of short and feature films for the Panorama of World Cinema aims to lift up the curtain of a contemporary world of approaches and points of view, with films not yet screened in Curitiba that have won awards at international festivals with distinct profiles and parameters. The Panorama of Brazilian Cinema follows the same criteria by including films not yet screened in Curitiba that have been selected for national and international festivals.

In the search for a menu of titles that could reflect the richness and diversity, the Curators closely followed the recent editions of various kinds of festivals, from the most established and traditional, such as Cannes (France), Berlin (Germany) and Venice (Italy) to events with a strong emphasis on independent production, such as the Sundance Film Festival (United States). The Toronto Festival (Canada) was also included, because it is an event that serves as a parameter of the potentialities for distribution and commercialization of the selected films.

Attention was also paid to festivals devoted to more inventive experimental cinema focused on the director as auteur and on the expansion of the limits of cinematic language. These include those of Locarno (Switzerland), Rotterdam (Netherlands), Clermont Ferrand (France) and Oberhausen (Germany). The curators of the various sessions that make up these festivals seek out intriguing works that are formally daring and unsettling, with highly up-to-date political, social or cultural themes. Such festivals indicate the direction in which world cinema is moving to.

Regarding relevant exhibitions within the national scenario, films were chosen if they had been selected and well received by the longstanding festivals of Brasília and Gramado, or by newer but equally important ones, such as
the Rio Festival and the Tiradentes Film Showcase (in the State of Minas Gerais).

The Cinema Retrospective: Pablo Trapero will revisit already renowned films that belong to a lineage representative of
Argentina, a country that has developed a dense kind of filmmaking with a philosophical approach and themes that reverberate throughout Latin America.

The Curators of the FICBIC 2015 have sought to establish a dialogue among the various themes and formats of the short and feature films of the World and Brazilian Panoramas, the theme of World Light, selected by the Curator of the 2015 Biennial, Teixeira Coelho, and the festivals that, in traditional or unusual ways, offer us a multiplicity of voices from the world of contemporary cinema. The curators’ concept, the Trilogy of Light, the eye of the camera, the eye of the film-maker and the eye-light of the viewer, finds in the frames a point of convergence, stressing once again the annual meeting of the public with filmmakers, critics and researchers.

Denize Araujo / Paulo Camargo