“[...] During the ’70s I went to the atelier-home of an artist, Hèlio Oiticica, who lived in New York. [...] Part of Lágrima pantera was shot there. [...] Hèlio Oiticica at the time was experimenting in his ‘infinitistic’ cosmos. In another corner of his work, he was trying it out on herself with a Super8 camera. [...] These small clips (1 or 2 minutes) attracted my attention; I saw in them a way to start over again, to unlearn, to detach myself form myself, from my clichés. Inside these uncertain frames, that he had made step by step, I found an ideal, unexpected passage. To the unprepared eye, the aspect of the world of May-June 1971 – that was marked by great fear – might seem today like the still life of a living painting. Certain pioneering mental states, narcotic delights, men bursting in laughing and stumbling, archaic gestures reborn, these are still the fleeting ghosts of a curious and invisible space… Antonio Vieira said that even the stones talk. They talk and respond, he said. These images talk and respond to something dark; they are unconscious memories of time.” (J. Bressane)
Julio Bressane (Rio de Janeiro,1946) when he was 19, he was assistant to Walter Lima Jr. for the film Menino de Engheno (1969). He debuted as a director in 1965 with the short film Lima Barreto: Trajetória. His first films are received as a break with Cinema Novo and are called as part of Cinema Marginal. In 1970, with Rogerìo Sganzerla and Helena Ignez, he founded the production house Belair, whose activity was brusquely interrupted by the military dictatorship, which forces the three founders into exile. Bressane returned to Brazil in 1973. In 2002, the Torino Film Festival dedicated to him a complete retrospective to his work.
Lima Barreto: Trajetória (cm, 1965-1966), Cara a Cara (1967), O Anjo Nasceu (1969), Cuidado Madame (1970), Amor Louco/Crazy Love (1971), Lágrima Pantera (frammento) (1972), O Rei do Baralho (1973), O Monstro Caraíba - Nova História Antiga do Brasil (1975), A Agonia (1976), Cidade Pagã (cm, 1979), Tabu (1982), Brás Cubas (1985), Sob o Céu, Sob o Sol, Salvador (mm, 1987), Sermões - A História de António Vieira (1989), Antonioni - Hitchcock: A Imagen em Fuga (mm, doc., 1993), O Mandarim (1995), Miramar (1997), São Jerônimo (1998), Dias de Nietzsche em Turim (2001), Filme de Amor (2003)