STYLE CARLOS EDUARDO THOMPSON HERITAGE | KAREN | RIO | BRAZIL


 STYLE CARLOS EDUARDO THOMPSON HERITAGE  | KAREN | RIO | BRAZIL 

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BRITTANY DOWDEN | FILM ARCHAEOLOGY 2025

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BRITTANY DOWDEN Archaeologist Underwater, Surfer and activist for the preservation of underwater archaeological sites on 8 km of coastline in Brazil and 300,000 km of river sites in Brazilian territory, she carries out educational work in environmental reserves in the city of Rio de Janeiro with professional surfers and immigrants who went to the Brazil fleeing the advance of the European and American extreme right. He is a character who chooses not to come into conflict with the political system of privatizing Brazilian beaches and the action of treasure hunters who destroy underwater sites and with the corruption and leniency of national and international public and private policies that operate in Brazil in the year 2035. Brittany chooses to form local partnerships with surfers at Macumba beach in Rio de Janeiro, where she lives and takes care of refugees. She is an observer who cares about exposing the gap between identity and otherness. The images and art of the character's sc...
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CLOSE-UP NO QUADRIL DE KATHLEEN MOSTRANDO A HORA EM SEU CARTIER COM SAIA DIOR. KATHLEEN MCGRAW, CONTINUA O DIÁLOGO. A sensação de não assinar não me impede de dizer ao meu povo que os amo. E eu amo também, quem eles e eu fazemos ou não ha nós mutualmente… Esse equilíbrio é uma de suas heranças. A mitocôndria. 1.20. KATHLEEN COMEÇA A SE DESPIR LENTAMENTE.

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CLOSE-UP NO QUADRIL DE KATHLEEN MOSTRANDO A HORA EM SEU CARTIER COM SAIA DIOR. KATHLEEN MCGRAW, CONTINUA O DIÁLOGO. A sensação de não assinar não me impede de dizer ao meu povo que os amo. E eu amo também, quem eles e eu fazemos ou não ha nós mutualmente… Esse equilíbrio é uma de suas heranças. A mitocôndria. 1.20. KATHLEEN COMEÇA A SE DESPIR LENTAMENTE.  
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ALL FOR NEW LIFE | Cinematographic Plot | Carlos Eduardo Thompson

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  Cinematographic Plot Carlos Eduardo Thompson In the mold of the medium-length film "All For New Life", the cinematic writing of the script has several dramatic curves with climaxes and attacks through the Art of the Scene. I am aware of this argument, I have seen it in practice. He concludes, by writing in the classical form, that these two situations are necessarily created since they are intricate in the division into three acts. The existence of high points of dramatic tension that he entitles "All For New Life" deviates from the classic scheme in which the climax is the "crowning of the whole story". Synopsis is confused with argument, and the strategy was to avoid inventing a whole new nomenclature to designate the aspects inherent to the construction of a plot. I considered only the main ones as a guiding tool for the execution of the process. If we try to respond to all these moments of narrative tension calculatedly, to result in a precise chain ...
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