Rio Film Festival Reveals Must-See Docs and Ambitious Lineup

Off the Fence (OTF), a prominent storytelling media group known for co-producing the Oscar-winning documentary “My Octopus Teacher,” has officially boarded Viviane D’Avilla’s “Let Us Be.” This powerful documentary, which had its world premiere at Raindance and is set for its Latin American premiere at the Rio Film Festival, delves into the lives of intersex individuals globally. D’Avilla’s directorial debut evolved from extensive research initiated in 2017, following her earlier exploration of the subject in the short doc “GOPI.” The feature film intricately portrays the challenges, joys, and intimate journeys of individuals born with bodies that defy conventional male or female physical definitions, featuring stories from India, Brazil, and the United States.

“Let Us Be” is produced by Mariana Marinho and Marco Abujamra of Dona Rosa Films (Brazil) and Iz Web of Social Construct. Pioneering intersex activist and author Hida Viloria serves as an executive producer alongside Zak Kilberg of Social Construct. Off the Fence plans to commence sales for the film at Mipcom in October. Loren Baxter, VP of acquisitions and co-productions for Off the Fence, expressed profound admiration for the film, highlighting its ability to educate and empower, noting the warmth and relatability of its characters. Viloria underscored the film’s multi-continental focus, demonstrating that the intersex community is a natural part of the global population, dispelling misconceptions of it being a modern, Western phenomenon. The documentary features impactful stories, including Carolina Iara, one of Latin America’s first intersex parliamentarians, and Indian community leader Aanandh Rajappan, who confronts medical violence and stigma in his home country. Director D’Avilla articulated the film’s core mission to move beyond medical and societal definitions, allowing individuals to define themselves with dignity and autonomy, posing a fundamental question: can society embrace human bodies as they are? Producer Marinho emphasized the team’s dedication to creating an accessible and intimate film for a broad audience, using distinct global settings to offer diverse cultural perspectives and foster common ground amidst differences. Dona Rosa Films, led by Marinho for two decades, is a leading independent documentary production company in Rio de Janeiro, with co-founder Abujamra also co-writing “Animal Race,” a globally recognized non-English-language film.

The Rio Film Festival, a major platform for such significant cinematic works, is expertly guided by its artistic director, Ilda Santiago. Santiago, renowned for her decades-long commitment to bridging Brazilian and international cinephilia, has curated an impressive lineup for the upcoming edition, running from October 1-11. The festival is set to open with Los Javis’s highly anticipated “La Bola Negra” and conclude with Jordan Firstman’s “Club Kid,” both buzz-worthy titles. With over 270 features, the program will showcase 16 national Oscar submissions, including Brazil’s “Gugu’s World,” “La Bola Negra,” Lukas Dhont’s “Coward,” and Markus Schleinzer’s “Rose.” Other notable films include Beth de Araújo’s “Josephine,” Diego Luna’s “Ashes,” and Benjamin Naishtat’s “Glaxo.” The festival’s homegrown talent section, Premiére Brasil, has significantly expanded, featuring over 100 films vying for the prestigious Redentor Trophy. World premieres in this strand include Carlos Saldanha’s first live-action film “100 Days,” Lucia Murat’s documentary “The Hinterlands of Our Memories” on Brazil’s military dictatorship, and Pedro Waddington’s “Fernanda,” a documentary on Oscar-nominated Brazilian acting legend Fernanda Montenegro. RioMarket, the industry sidebar (October 1-10), will spotlight South Korea and host discussions on pressing topics such as AI, diversity, TikTok, and awards strategies.

Another highly anticipated documentary making its world premiere at the Rio Film Festival is Eryk Rocha’s “Elza,” with Oscar-nominated Italian producer Donatella Palermo (“Fire at Sea,” “Caesar Must Die”) joining as a production associate. “Elza,” which will also have its international premiere at the Rome Film Festival, serves as a follow-up to Rocha’s acclaimed “The Falling Sky.” This comprehensive documentary chronicles the life of Elza Soares, one of Brazil’s most celebrated singers and public figures. Utilizing rare archival materials and intimate conversations with Soares in her final years, the film traces her seven-decade career, revealing the multifaceted woman behind the legend. The project benefits from high-caliber partners including Aruac Filmes, Maria Farinha Filmes, Globo Filmes, RAI Cinema, and Gullane+. Rocha, who filmed Soares over eight years, describes her as a beacon whose art and legacy guide us, emphasizing that telling her story is also telling Brazil’s. Soares’s career saw her collaborate with international music icons like Astor Piazzolla, Louis Armstrong, and Ella Fitzgerald, famously meeting Armstrong in 1962. Named BBC’s “Voice of the Millennium,” Elza transcended genres and borders, becoming a global symbol of artistic freedom, resilience, and the enduring power of Black women’s voices. Her passing in 2022 prompted widespread tributes across Brazil. “Elza” is a co-production of Aruac Filmes and Maria Farinha Filmes with Globo Filmes and GloboNews, distributed by Gullane+ and Maria Farinha Filmes, and supported by various Brazilian cultural and governmental bodies.

Ilda Santiago’s programming philosophy for the Rio Film Festival is rooted in engaging younger audiences with films that offer interesting visual language and dramaturgy, rather than being hermetic. She advocates for cinema that not only tackles societal issues, often drawing from historical contexts to illuminate contemporary challenges, but also provides a “sense of inner calm,” hope, and belief in humanity, countering the notion that cinema must always drive viewers to despair. Santiago expressed immense pride in Brazilian cinema, particularly the documentaries that honor national greats like Montenegro, Elza Soares, and Vera Valdez, aiming to share Brazil’s rich culture with the world. The expansion of Premiére Brasil reflects a commitment to showcasing the plurality of Brazilian cinema, offering diverse entry points for audiences beyond just watching a “Brazilian film.” This year, a focus on national coming-of-agers aims to cultivate a cinemagoing habit among young generations. The festival is also strengthening ties with Spain, recognizing its importance as a natural pathway for Brazilian producers and acknowledging a growing desire among young Brazilians to connect with their Latin heritage. Furthermore, the festival embraces anticipated series, such as Amazon MGM Studios’ “Marília Mendonça: All the Feels,” demonstrating Santiago’s desire for a festival that is not “by-the-book” but actively confronts contemporary issues, adapts to evolving formats from VHS to streaming, and takes bold risks. She emphasizes the profound trust audiences place in the festival, allowing for adventurous programming that serves as a gateway to discover new and challenging cinematic experiences beyond the obvious blockbusters.