PROJECTO 03 CICLO DE CINEMA DE WES ANDERSON

RAFAELA SILVA | 1111

ESAD ‘13

INTRODUÇÃO

IDENTIDADE VISUAL

APLICAÇÃO EM OBJECTOS DE DIVULGAÇÃO GRÁFICA

DESDOBRÁVEL

CARTAZ

BANNER

POSTAIS

TSHIRT E PIN

O Projecto 2 tem como tema principal a elaboração de propostas para a identidade visual e para os suportes

de divulgação gráfica de um evento que poderemos caracterizar de pequena dimensão, tendo em conta os

meios de produção que dispõe, as expectativas de adesão que estabelece à partida e a especifici- dade do

objecto central. O projecto consiste na elaboração de propostas para a identidade visual e materiais de di-

vulgação gráfica de um ciclo de cinema dedicado aos filmes realizados por Wes Anderson.

Acontecerá em Matosinhos, no Cine-teatro Constantino Nery, um espaço com uma lotação adequada às ex-

pectativas ou previsões da audiência que se espera possa aderir a este acontecimento.

IDENTIDADE VISUAL

Para a interpretação da mesma linguagem gráfica em todos os suportes de divulgação, esboçei resultados

acima de tudo, simples, organizados e perceptíveis. Que retratassem o artista em questão — Wes Anderson.

Através de estudos e pesquisas sobre o autor, decidi adequar grande parte do meu trabalho à sua expres-

sividade. No que corresponde à identidade gráfica pretendida, optei por uma composição linear, onde a linha

fosse como um todo, simples, bem desenhada, com um carácter fluído, livre, expressivo, retratando Wes

Anderson. Nos suportes de divulgação, aquando esta identidade visual se presenciasse, optei por colocá-la

sob fundos escuros, para que se destacasse, estabelecendo assim contraste entre o fundo escuro e as cores

presentes no desenho em si e no título (amarelo e branco). “Wes Anderson” está escrito de uma forma mais

carregada, de maneira a que o título se evidencie mais.

// DESDOBRÁVEL

A REVOLTA DE UM ESCUTEIRO

Cannes 2012 começa bem e cheio de panache, com um dos mais belos filmes de Wes Ander-son: “Moonrise Kingdom”.

> Wes Anderson nunca foi escuteiro mas, provavelmente, gostava de ter sido. Gostava de ter vivido a história de amor dos protagonistas de “Moon-rise Kingdom”, dois adolescentes, Suzy e Sam, que trocam um primeiro beijo na praia, ao som de “Le Temps de L’Amour”, um hit de Françoise Hardy - é, para já, um dos momentos altos deste festival.

Estamos numa ilha imaginária da Nova Inglaterra. Em 1965. Um narra-dor avisa que vêm aí uma tempestade. Descobriremos depois de que tem-pestade se trata quando Suzy Bishop (a debutante Kara Hayward parece uma versão em miniatura da Gwyneth Paltrow de “Os Tenenbaums”), de 12 anos, desaparece de casa.

[FUGA] Saberemos depois por um flash-back que preparou uma fuga com Sam Shakusky (Jared Gilman), um escuteiro da sua idade, especial-ista de sobrevivência em condições adversas debaixo do seu gorro de pele - ele é órfão e o primeiro amor de Suzy. Desata toda a gente à procura dos miúdos: os pais Bishop (Bill Murray e Frances McDormand), o polícia local (Bruce Willis), o ‘chefe-escuta’ de Sam (Edward Norton) e ainda uma temível assistente social que toma conhecimento do caso via telefone (Tilda Swinton). Entretanto, já o cineasta texano pôs em marcha um dos seus filmes mais virtuosos: da maravilhosa casa pop dos Bishops, um inventário de bibelots afectivos (gira-discos, binóculos, livros de aventuras, megafones...) em que to-das as divisões comunicam umas com as outras, passamos a uma floresta acidentada em que os dois apaixona-dos perseguem uma antiga pista índia como se tivessem encontrado o seu mini-western, ameaçado pelo ciclone que há-de vir.

[AVENTURA] Wes Anderson é um cineasta destemido e faz filmes aventureiros muito mais amargurados do que a superfície de comédia que eles têm. Desejos de evasão e pulsões desesperadas, por vezes até suicidas, alimentam lá no fundo a mecânica de uma ‘realidade decorada’ da qual Wes detém o copyright. Falamos de perso-nagens desajustadas com a realidade.Elas procuram aventuras míticas que lhes transformem os dias. Antes de

Cannes, surgiu aquele trailer de “Moonrise Kingdom” na Net - e tornou-se viral. Há quem pense que já estava aí tudo. Há quem pense que Anderson já corre o risco de copiar-se. No entanto, “Moonrise Kingdom” está cheio de novidades. Traz-nos na obra de Ander-son, pela primeira vez, dois teenagers que se apaixonam e lutam contra o tempo, pois são ainda demasiado novos para aguentar o peso desse sentimento. Tudo vai desvanescer lentamente, como tudo desvanesce no cinema de Anderson.O tempo é o seu maior inimigo.

[REVOLUÇÃO] Mas “Moonrise Kingdom” diz-nos outra coisa, que é preciosa: se os anos 60 fracassaram, se as suas utopias se perderam, não deixam contudo de poder ser visita-das, vividas, reinventadas cinco déca-das depois pela mão de dois miúdos de 12 anos e pelo génio de um dos grandes criadores cinematográficos do nosso tempo.“Moonrise Kingdom” não fica longe de “Os Tenenbaums” e de “Um Peixe Fora de Água”. Ganha em eficácia a “The Darjeeling Limited” e em comoção a “O Fantástico Senhor Raposo”, com este “amor ferido”, como lhe chamou Bruce Willis (ele que parece eternamente destinado a salvar o mundo das suas tormentas). Ander-son aumentou a tensão, a crueldade, o lirismo.Ao sétimo filme, inventou um re-ino na praia de um primeiro amor e desembarcou pela primeira vez na competição de Cannes.

Francisco Ferreira | Jornal Expresso

Ciclo Novos Realizadores | Young Directors Series | Cine-teatro Constantino Nery

Matosinhos | 14 -23 Abril ‘013

> Qui 14 Abr, 18:30 + 22:00 | Bottle Rocket (1996)

> Sex 15 Abr, 18:30 + 22:00 + 24:00 | Rushmore (1998)

> Sáb 16 Abr, 18:30 + 22:00 + 24:00 | The Royal Tenenbaums (2001)

> Dom 17 Abr, 18:30 + 22:00 | The Squid and the Whale (2005)

> Seg 18 Abr, 18:30 + 22:00 | The Life Aquatic with Steve Zissou (2004)

> Ter 19 Abr, 18:30 + 22:00 | Marie Antoinette (2006)

> Qua 20 Abr, 18:30 + 22:00 | The Darjeeling Limited (2007)

> Qui 21 Abr, 18:30 + 22:00 | A Glimpse Inside the Mind of Charles Swan III (2012)

> Sex 22 Abr, 18:30 + 22:00 + 24:00 | Fantastic Mr. Fox (2009)

> Sáb 23 Abr, 18:30 + 22:00 + 24:00 | Moonrise Kingdom (2012)

TEL | 229 610 1231

info@ boualibenhoja.pt | www.boualibenhoja.pt

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It may be tempting to greet Sofia Coppola’s “Marie Antoinette” with a Jacobin snarl or a self-righteous sneer, since it is after all the story of the silly teenager who embodied a corrupt, absolutist state in its terminal decadence. But where’s the fun in such indignation? And, more seriously, where is the justice? To say that this movie is historically irresponsible or politically suspect is both to state the obvious and to miss the point. “Marie Antoinette” is a thoroughly modern confection, blending insouciance and sophistication, heartfelt longing and self-conscious posing with the guileless self-assurance of a great pop song. Despite all the bodices and breeches, the horse-drawn coaches and elaborate perukes, the movie is only masquerading as a costume drama. It would be overstating the case to call it a work of social criticism, but beneath its highly decorated surface is an examination, touched with melancholy as well as delight, of what it means to live in a world governed by rituals of acquisition and display. — A. O. Scott

> Marie Antoinette (2006) EUA, 123 min, cor, fic

Realização Sofia Coppola Escrito por Sofia Coppola

Kirsten Dunst x Marie Antoinette | Jason Schwartzman x Louis XVI | Judy Davis x Comtesse de Noailles | Rip Torn x Louis XV | Rose Byrne x Duchesse de Polignac | Asia Argento x Comtesse du Barry | Molly Shannon x Aunt Victoire | Shirley Hen-derson x Aunt Victoire | Shirley Henderson x Aunt Sophie | Danny Huston x Emperor Joseph II | Marianne Faithfull x Empress Maria Theresa | Maria Nighy x Princesse Lamballe | Sebastian Armesto x Comte Louis de Provence | Jamie Dornan x Count Axel Fersen | Aurore Clément x Duchesse de Char | Guillaume Gallienne x Vergennes

Produção | Wes AndersonMúsica | Mark MothersbaughFotografia | Robert D. Yeoman Montagem | Dylan TichenorDesign de produção | David WascoDirecção de Actores | Douglas AibelDirecção de Arte | Carl SpragueFigurinos | Karen Patch

Wes Anderson makes films about small worlds in which big things happen: love, heartbreak, calamities, death. In his latest, the wondrous storybook tale “Moonrise Kingdom,” a girl and a boy, both 12, run off to a remote inlet on an island where most of the adults seem disappointed and more than a little sad. The girl and the boy are very serious — about love, their plans, books, life itself — and often act older than their age. She wears bright blue eyeliner; he puffs on a corncob pipe. You wonder what their hurry is, given that here adulthood, with its quarrels, regrets and anguished pillow talk, can feel as dangerous as the storm that’s hurtling toward the island, ready to blow it all down. The two young romantics in “Moonrise Kingdom,” which opened the 65th Cannes Film Festival on May 16, are gifted and, according to grown-ups who are supposed to know about such things, problem children. Suzy (Kara Hayward) definitely knows this about herself because she discovered a copy of a pamphlet, “Coping With the Very Troubled Child,” on top of the family fridge. She does have a temper, but she also has three younger brothers, which may help explain her tantrums. Yet, like many characters in Mr. Anderson’s films, she’s also troubled on a deeper level, beset by an existential despair that waned when, while getting ready for a performance of Benjamin Britten’s opera “Noye’s Fludde” a year earlier, she met her match, her soul mate, her co-conspirator, Sam (Jared Gilman). — Manohla Dargis

> Moonrise Kingdom (2012) EUA, 94 min, cor, fic

Realização Wes Anderson Escrito por Wes Anderson / Roman Coppola

Bruce Willis | Captain Sharp | Edward Norton | Scout Master Ward | Bill Mur-ray | Walt Bishop | Frances McDormand | Laura Bishop | Tilda Swinton | Social Services | Jared Gilman | Sam | Kara Hayward | Suzy | Jason Schwartzman | Cousin Ben | Bob Balaban | The Narrator | Lucas Hedges | Redford | Charlie Kilgore | Lazy Eye | Andreas Sheikh | Panagle | Chandler Frantz | Gadge | Rob H. Campbell | Deluca (as Rob Campbell) | L.J. Foley | Izod

Produção | Wes Anderson Música Original | Alexandre DesplatFotografia | Robert D. Yeoman Montagem | Andrew WeisblumDirecção de actores | Douglas AibelDesign de produção | Adam StockhausenDirecção de Arte | Gerald SullivanCenografia | Kris MoranFigurinos | Kasia Walicka-Maimone

> A Glimpse Inside the Mind of charles Swan III (2012) EUA, 91 min, cor, fic

Realização Wes Anderson Escrito por Roman Coppola

> Rushmore (1998) EUA, 93 min, cor, fic

Realização Wes Anderson Escrito por Wes Anderson / Owen Wilson

> Rushmore (1998) EUA, 93 min, cor, fic

Realização Wes Anderson Escrito por Wes Anderson / Owen Wilson

Produção | Wes AndersonMúsica | Mark MothersbaughFotografia | Robert D. Yeoman Montagem | David MoritzDesign de produção | David WascoDirecção de Actores | Douglas Aibel + Mary Gail Artz + Barbara CohenDirecção de Arte | Andrew LawsCenografia | Sandy Reynolds-WascoFigurinos | Karen Patch

Jason Schwartzman x Max Fischer | Bill Murray x Herman Blume | Olivia Williams x Rosemary Cross | Seymour Cassel x Bert Fisher | Brian Cox x Dr.Nelson Guggenheim| Mason Gamble x Dirk Calloway | Sara Tanaka x Margaret Yang | Stephen McCole x Magnus Buchan | Connie Nielsen x Mrs.Calloway | Luke Wilson x Dr.Peter Flynn | Dipak Pallana x Mr.Adams | Andrew Wilson x Coach Beck | Marietta Marich x Mrs.Guggenheim | Ronnie McCawley x Ronny Blume | Keith McCawley x Donny Blume

After the highly acclaimed independent film Bottle Rocket, director Wes Anderson followed up with a quirky Touchstone Studios film entitled Rushmore. Written by Anderson and friend Owen Wilson (an actor in Armageddon and Anaconda), they created the story of Max Fischer, a highly eccentric 15-year-old boy who attends the tenth grade at Rushmore Academy. Played by Jason Schwartzman (Talia Shire’s son and Francis Ford Coppola’s nephew), Max is a poor student with big dreams and a love of extracurricular activities. Max is editor of the school newspaper and yearbook, president of the chess, astronomy, French, and German clubs, captain of the fencing team, and director of the school play. Max is also a compulsive liar, telling everyone that his barber father (Seymour Cassel) is really a brain surgeon. Suddenly Max falls in love with Miss Cross (Olivia Williams), a first-grade teacher at the school. He also makes a new friend in business tycoon Mr. Blume (Bill Murray), an eccentric millionaire who also loves Miss Cross. The love triangle heats up as Max refuses to believe that his age has anything to do with Miss Cross refusing his romantic advances. Also Max’s scheme to erect an aquarium on the school baseball diamond gets him booted out of Rushmore Academy. As his life crumbles around him, he is forced to grow up and accept the consequences of his actions and his lies.

> The Squid and the Whale (2005) EUA, 81 min, cor, fic

Realização Noah Baumbach Escrito por Noah Baumbach

One of the ruling assumptions of American popular culture — or at least of American independent movies — is that everyone’s adoles-cence is uniquely miserable. Coming of age, with its attendant thrills and traumas, is an inexhaustible subject because no two people go through it in exactly the same way. Once we’re safely afloat in adulthood, though, we can begin to recognize the universality of our earlier experiences, and we can be grateful when, amid all the prurience and sentimentality that attend representations of adolescence, someone manages to get it right. This is what Noah Baumbach has done in “The Squid and the Whale,” his fourth feature as a director and a superior example of a familiar genre. Told largely from the point of view of Walt Berkman (Jesse Eisenberg), a 16-year-old enduring the breakup of his parents’ marriage in mid-1980’s Park Slope, Brooklyn, “The Squid and the Whale” is both sharply comical and piercingly sad. Mr. Baumbach surveys the members of the flawed, collapsing Berkman family with sympathy but without mercy, noting their individual and collective failures and imperfections with relentless precision. — A. O. Scott

Owen Kline x Frank Berkman | Jeff Daniels x Bernard Berkman | Laura Linney x Joan Berkman | William Baldwin x Ivan | David Benger x Carl | Anna Paquin x Lili | Molly Barton x Graduate Student | Matthew Kaplan x Graduate Student | Simon Kaplan x Graduate Student | Matthew Kirsch x Graduate Student | Daniella Markowicz x Graduate Student | Elizabeth Meriwether x Graduate Student | Ben Schrank x Graduate Student

Produção | Wes Anderson Música Original | Britta Phillips + Dean WarehamFotografia | Robert D.YeomanMontagem | Tim StreetoDirecção de actores | Douglas AibelDesign de produção | Anne RossDirecção de Arte | Jennifer DehghanCenografia | Robert CovelmanFigurinos | Amy Westcott

“Fantastic Mr. Fox” is a proudly analog animated entertainment, making its handmade way into a marketplace glutted with digital goodies. Next to the three-dimensional, computer-generated creatures that swoop and soar off the screen these days, the furry talking animals on display here, with their matted pelts, jerky movements and porcelain eyes, might look a little quaint, like old-fashioned wind-up toys uneasily sharing the shelf with the latest video game platforms. At times this adaptation of Roald Dahl’s slender anti-fa-ble — truer to the spirit than to the letter of the source — does not even look like a movie. In spite of the pedigreed voices (Meryl Streep and Bill Murray, along with George Clooney in the title role), it feels more like an extended episode of what progressive educators call imaginative play. The sets might just as well have been built out of available household stuff, the stiff figurines animated and ventriloquized on a classroom or bedroom floor by precocious children. All of which may only be another way of saying that this is a Wes Anderson film. The spirit of self-conscious juvenile playacting has informed his work from the start, providing a theme for “Rushmore” and a sensibility for everything else. His live-action subjects often move like stop-motion figures through landscapes that resemble drawings and models more than real places. (Think of the cutaway ship set in “The Life Aquatic With Steve Zissou.”) — A. O. Scott

> Fantastic Mr. Fox (2009) EUA, 87 min, cor, anim

Realização Wes Anderson Escrito por Roald Dahl

George Clooney x Mr.Fox | Meryl Streep x Mr.Fox | Jason Schwartzman x Ash | Bill Murray x Badger | Wallace Wolodarsky x Kylie | Eric Chase Anderson x Kristofferson | Michael Gambon x Franklin Bean | Willem Dafoe x Rat | Owen Wilson x Coach Skip | Jarvis Cocker x Petey | Wes Anderson x Weasel | Karen Duffy x Linda Otter | Robin Hurlstone x Walter Boggis | Hugo Guiness x Nathan Bunce | Helen McCrory x Mr.Bean

Produção | Allison Abbate Música Original | Alexandre DesplatFotografia | Tristan Oliver Montagem | Ralph Foster + Stephen Perkins + Andrew WeisblumDesign de produção | Adam StockhausenDirecção de Arte | Nelson LowryDirecção de Arte | Francesca Berlingieri Maxwell

More elaborate whimsy from Wes Anderson, who confected a parallel-universe Manhattan in “The Royal Tenenbaums” and who now goes even further, inventing tropical islands and new species of exotic fish when the mood strikes him. Somehow, though, the film is more charming than irritating, in part thanks to Bill Murray’s performance — a tour de force of comic minimalism — as Steve Zissou, an ocean adventurer with a boatload of problems. “The Life Acquatic” is thick with potential narrative complications — involving, for starters, Zissou’s long-lost son (Owen Wilson), estranged wife (Anjelica Houston), slimy arch-rival (Jeff Goldblum) and needy first mate (Willem Dafoe) — but Mr. Anderson is less a storyteller than a curator of odd specimens and curious situations. The pleasures of this movie are like those of a beautifully illustrated, haphazardly plotted picture book, which precocious children (and nostalgic adults) can linger over, feeding their own reveries and fantasies. Those dreams are eased along by a soundtrack consisting mainly of early David Bowie songs reinterpreted as Brazilian sambas — something that, like so much else in the picture, is at once absurd and oddly perfect. — A. O. Scott

Bill Murray | Steve Zissou | Owen Wilson | Ned Plimpton | Cate Blanchett | Jane Winslett-Richardson | Anjelica Huston | Eleanor Zissou | Willem Dafoe | Klaus Daimler | Jeff Goldblum | Alistair Hennessey | Michael Gambon | Oseary Drakoulias | Noah Taylor | Vladimir Wolodarsky | Bud Cort | Bill Ubell | Seu Jorge | Pelé dos Santos | Robyn Cohen | Anne-Marie Sakowitz | Waris Ahluwalia | Vikram Ray | Niels Koizumi | Bobby Ogata | Pawel Wdowczak |

Renzo Pietro | Matthew Gray Gubler

Produção | Wes AndersonMúsica | Mark MothersbaughFotografia | Robert D. Yeoman Montagem | David MoritzDesign de actores | Douglas AibelDesign de produção | Mark FriedbergDirecção de Arte | Stefano Maria Ortolani + Marco Trentini + Eugenio UlissiCenografia | Gretchen RauFigurinos | Milena Canonero

To call “The Darjeeling Limited” precious is less a critical judgment than a simple statement of fact, equivalent to saying that the movie is in color, that it’s set in India or that it’s 91 minutes long. It’s synonymous with saying the movie was Directed by / Realização Wes Anderson. By now — “The Darjeeling Limited” is his fifth feature film — Mr. Anderson’s methods and preoccupations are as familiar as the arguments for and against them. (See an essay in the current issue of The Atlantic Monthly for the prosecution and a profile in this week’s New York magazine for the defense.) His frames are, once again, stuffed with carefully placed curiosities, both human and inanimate; his story wanders from whimsy to melancholy; his taste in music, clothes, cars and accessories remains eccentric and impeccable. And like his other recent films, “The Royal Tenenbaums” and “The Life Aquatic With Steve Zissou,” this new one celebrates a sensibility at once cliquish and inclusive. It reflects the aesthetic obsessions of a tiny coterie that anyone with the price of a ticket is free to join. — A. O. Scott

> The Darjeeling Limited (2007) EUA, 94 min, cor, fic

Realização Wes Anderson Escrito por Wes Anderson / Roman Coppola / Jason Schwartzman

Bill Murray | Steve Zissou | Owen Wilson | Ned Plimpton | Cate Blanch-ett | Jane Winslett-Richardson | Angelica Huston | Eleanor Zissou | Willem Dafoe | Klaus Daimler | Jeff Goldblum | Alistair Hennessey | Mi-chael Gambon | Oseary Drakoulias | Noah Tailor | Vladimir Wolodarsky | Trudy Matthys x German Lady

Produção | S.M. Ferozeuddin Alameer line ProducerFotografia | Robert D. Yeoman Montagem | Andrew WeisblumDesign de produção | Mark FriedbergDirecção de Arte | Aradhana Seth + Adam StockhausenCenografia | Suzanne Caplan Merwanji + Aradhana SethFigurinos | Milena Canonero

Wes Anderson’s suburban slacker comedy “Bottle Rocket” begins with a not-so-daring escape. Actually, it’s no escape at all. When Anthony (Luke Wilson) leaves the mental hospital in which he has spent time, he waves goodbye to patients and doctors and strolls away in open sight. Anyone in his right mind could tell that Anthony was leaving the hospital a free man. However, this would still be news to Didgnan (Owen C. Wilson), Anthony’s madly gung-ho friend. Didgnan looks on through binoculars while Anthony makes a showy concession to his friend’s sense of high drama. Anthony leaves his room by slipping out the window, even though this baffles a doctor who has come to see him off. “Look how excited he is!” explains Anthony, pointing to his friend in the underbrush nearby. With that, “Bottle Rocket” declares its own boyishness, which is as deep-seated as Didgnan’s and sometimes just as entertaining. (No wonder: in addition to playing Didgnan, Owen C. Wilson wrote the screenplay with Mr. Anderson, his University of Texas college friend.) First made as a 13-minute black-and-white short, now expanded to a brightly colored family affair featuring three Wilson brothers in acting roles, “Bottle Rocket” makes the most of its taste for self-deluding adolescent games.

> Bottle Rocket (1996) EUA, 91 min, cor, fic

Realização Wes Anderson Escrito por Wes Anderson / Owen Wilson

Luke Wilson x Anthony Adams | Owen wilson x Dignan | Ned Dowd x Dr.Nich-ols | Shea Fowler x Grace | Haley Miller x Bernice | Robert Musgrave x Bob Mapplethorpe | Andrew Wilson x Future Man | Brian Tenenbaum x H.Clay Murchison | Jenni Tooley x Stacy Sinclair | Temple Nash x Temple | Didak Pallana x Bookstore Employee | Darryl Cox x Bookstore Manager | Stephen Dignan x Rob | Lumi Cavazos x Inez | Julie Mayfield x Wife in Motelroom

Produção | Wes AndersonMúsica | Mark MothersbaughFotografia | Robert D.YeomanMontagem | Dylan TichenorDesign de produção | David WascoDirecção de Actores | Douglas AibelDirecção de Arte | Carl SpragueFigurinos | Karen Patch

Wes Anderson, the director of “Rushmore,” has made a movie that the precocious adolescent hero of that film might have made: show-offy, self-impressed, but with sparks of undeniable insight and ingenuity. Set in a New York dreamworld confected out of children’s books and antique New Yorker fiction, “Tenenbaums” purports to explore the lives of a family of child geniuses, some of their friends and their estranged parents. With a few exceptions, the Cast / Elenco does an admirable job of finding what life there is in Mr. Anderson’s static, literary creatures, but it is impossible to believe that these people have much to do with one another, or with anything outside their creator’s hothouse imagination. The Tenenbaums are less a family than a collection of dolls fussed over by a compulsive collector. The only actor who succeeds in breaking through the suffocating whimsy is Gene Hackman as Royal, the clan’s wildly irresponsible patriarch. – A. O. Scott

> The Royal Tenenbaums (2001) EUA, 110 min, cor, fic

Realização Wes Anderson Escrito por Wes Anderson / Owen Wilson

Gene Hackman x Royal Tenenbaum | Anjelica Huston x Etheline Tenenbaum |

Ben Stiller x Chas Tenenbaum | Gwyneth Paltrow x Margot Tenenbaum | Luke

Wilson x Richie Tenenbaum | Owen Wilson x Eli Cash | Bill Murray x Raleigh

St.Clair | Danny Glover x Henry Sherman | Seymour Cassel x Dusty | Kumar

Pallana x Pagoda | Alec Baldwin x Narrator | Gran Rosenmeyer x Ari Tenenbaum

| Irene Gorovaia x Young Margot Tenenbaum

Produção | Wes AndersonMúsica | Mark MothersbaughFotografia | Robert D. Yeoman Montagem | Dylan TichenorDesign de produção | David WascoDirecção de Actores | Douglas AibelDirecção de Arte | Carl SpragueFigurinos | Karen Patch

Set in a stylized Los Angeles, ‘A GLIMPSE INSIDE THE MIND OF CHARLES SWAN III’ is a playful comedy of lost love, friendship, revenge fantasies, and Brandy Alexanders. Charles (Charlie Sheen) is a successful graphic designer whose fame, money and charm have provided him with a seemingly perfect life. When his true love, a perplexing beauty named Ivana, suddenly breaks off their relationship, Charles’ life falls apart and he swirls into a downward spiral of doubt, confusion and reflection. With the support of his loyal intimates- Kirby (Jason Schwartzman), Saul (Bill Murray), and his sister, Izzy (Patricia Arquette) -- he begins the hard road of self-evaluation to come to terms with a life without Ivana. The film begs the question: Is it possible to love and hate someone at the same time?

Charlie Sheen x Charles Swan III | Jason Schwartzman x Kirby Star | Bill Murray x Saul | Katheryn Winnick x Ivana | Patricia Arquette x Izzy | Aubrey Plaza x Marnie | Dermot Mulroney x Doctor | Mary Elizabeth Winstead x Victoria | Pauç Benshoof x Charlie Dancing Double | Angela Lindvall x Veiled Woman | Anne Bellamy x Grandma | Tyne Stecklein x Penny | Lindsey McLevis x Lindsey | Lexy Hulme x Yvonne | Bar Paly x Maria Carla

Produção | Sue Yeon Ahn. associate Música Original |Liam Hayes + Roger NeillFotografia | Nick BealMontagem | Robert SchaferDirecção de actores | Nicole Daniels + Courtney SheininDesign de produção | Elliott HostetterDirecção de Arte | Almitra CoreyCenografia | Elizabeth KeenanFigurinos | April Napier

> The Life Aquatic with Steve Zissou (2004) EUA, 114 min, cor, fic

Realização Wes Anderson Escrito por Wes Anderson / Noah Baumbach

Facilitando a leitura e interpretação de todo o texto ao leitor, o desdobrável tem um carácter rígido, simétrico,

organizado, coerente, equilibrado e claramente funcional. Inspirei-me numa estrutura básica para o seu lay-

out, para um rápida e não confusa percepção visual por parte do leitor. Respectivamente à cor escolhida para

a caixa de texto onde se inserem os filmes de Wes Anderson, pensei nas cores quentes que este habitual-

mente utiliza, e daí a optar pelo amarelo, que, esteticamente se enquadra bem no grafismo do desdobrável.

Quanto à tipografia, escolhi uma fonte sem serifa, condensada, bem desenhada, elegante, e o mais simples

possível de modo proporcionar uma boa leitura. Coloqui-a sob diversas famílias (Din Condensed - “Light”,

“Medium” e “Regular”) interagindo assim com texto corrido, títulos e subtítulos.

// DESDOBRÁVEL

TIPOGRAFIA

IDENTIDADE VISUAL

Din Cond | Light abcdefghijlmnopqrstuvxz ABCDEFGHIJLMNOPQRSTUVXZ 1234567890 *’=)(/&%$#”!:;_-><^~|\ªº+’±

Din Cond | Regular abcdefghijlmnopqrstuvxz ABCDEFGHIJLMNOPQRSTUVXZ 1234567890 *’=)(/&%$#”!:;_-><^~|\ªº+’±

Din Cond | Medium abcdefghijlmnopqrstuvxz ABCDEFGHIJLMNOPQRSTUVXZ 1234567890 *’=)(/&%$#”!:;_-><^~|\ªº+’±

/// CARTAZ

Matosinhos | 14 - 13 de abril ‘13Ciclo Novos Realizadores

Qui 14 Abr, 18:30 + 22:00Bottle Rocket (1996)

Sex 15 Abr, 18:30 + 22:00 + 24:00Rushmore (1998)

Sáb 16 Abr, 18:30 + 22:00 + 24:00The Royal Tenenbaums (2001)

Dom 17 Abr, 18:30 + 22:00The Squid and the Whale (2005)

Seg 18 Abr, 18:30 + 22:00The Life Aquatic with Steve Zissou (2004)

Ter 19 Abr, 18:30 + 22:00Marie Antoinette (2006)

Quar 20 Abr, 18:30 + 22:00The Darjeeling limited (2007)

Qui 21 Abr, 18:30 + 22:00A Glimpse Insde the Mind of Charles Swan III (2012)

Sex 22 Abr, 18:30 + 22:00 + 24: 00Fantastic Mr. Fox (2009)

Sáb 23 Abr, 18:30 + 22:00 + 24: 00Moonrise Kingdom (2012)

TEL > 229 610 1231 | info@ boualibenhoja.pt | www.boualibenhoja.pt | Organização > Associação BouAli’BenhoJa

Para uma rápida percepção de um cartaz, há que saber dividir e organizar a informação adquirida. Para tal,

vários estudos acerca do título e da informação secundária (local, data, apoios, outras informações, pro-

grama-base, etc) foram necessários. O questionário essencial (“O quê?”, “Quando?”, “Onde”) além do título

e subtítulo (Wes Anderson ; Ciclo Novos Realizadores) que se destacam no trabalho, fazem parte da infor-

mação base de um cartaz, daí a realçar ambos visualmente. O Programa-base divide-se em duas colunas de

texto, posicionadas no canto superior direito e esquerdo do cartaz, de forma a que o próprio cartaz respire, ou

seja, de forma a que haja um adequado espaçamento entre todos os elementos de forma a evitar que estes

estejam amontuados. Respectivamente à codificação cromática, foram utilizadas apenas 3 cores - branco e

amarelo no texto, preto no fundo - com o objectivo de fazer destacar toda a informação precisa. O nome do

autor e os separadores estão a amarelo de maneira a que haja a distinção correcta entre todos os elementos.

/// CARTAZESTUDOS

Ciclo Novos RealizadoresMatosinhos | 14 - 13 Abril ‘013

TEL > 229 610 1231 | info@ boualibenhoja.pt | www.boualibenhoja.pt | Organização > Associação BouAli’BenhoJa

Qui 14 Abr, 18:30 + 22:00 > Bottle Rocket (1996) | Sex 15 Abr, 18:30 + 22:00 + 24:00 > Rushmore (1998) | Sáb 16 Abr,

18:30 + 22:00 + 24:00 > The Royal Tenenbaums (2001) | Dom 17 Abr, 18:30 + 22:00 > The Squid and the Whale (2005)

| Seg 18 Abr, 18:30 + 22:00 > The Life Aquatic with Steve Zissou (2004) | Ter 19 Abr, 18:30 + 22:00 > Marie Antoinette

(2006) | Qua 20 Abr, 18:30 + 22:00 > The Darjeeling Limited (2007 ) | Qui 21 Abr, 18:30 + 22:00 > A Glimpse Inside the

Mind of Charles Swan III (2012 ) | Sex 22 Abr, 18:30 + 22:00 + 24:00 > Fantastic Mr. Fox (2009) | Sáb 23 Abr, 18:30 +

22:00 + 24:00 > Moonrise Kingdom (2012 )

Ciclo Novos RealizadoresMatosinhos | 14 - 13 Abril ‘013

Qui 14 Abr, 18:30 + 22:00 > Bottle Rocket (1996) | Sex 15 Abr, 18:30 + 22:00 + 24:00 > Rushmore (1998) | Sáb 16 Abr,

18:30 + 22:00 + 24:00 > The Royal Tenenbaums (2001) | Dom 17 Abr, 18:30 + 22:00 > The Squid and the Whale (2005)

| Seg 18 Abr, 18:30 + 22:00 > The Life Aquatic with Steve Zissou (2004) | Ter 19 Abr, 18:30 + 22:00 > Marie Antoinette

(2006) | Qua 20 Abr, 18:30 + 22:00 > The Darjeeling Limited (2007) | Qui 21 Abr, 18:30 + 22:00 > A Glimpse Inside the

Mind of Charles Swan III (2012 ) | Sex 22 Abr, 18:30 + 22:00 + 24:00 > Fantastic Mr. Fox (2009) | Sáb 23 Abr, 18:30 +

22:00 + 24:00 > Moonrise Kingdom (2012 )

TEL > 229 610 1231 | info@ boualibenhoja.pt | www.boualibenhoja.pt | Organização > Associação BouAli’BenhoJa

Ciclo Novos RealizadoresMatosinhos | 14 - 13 Abril ‘013

Qui 14 Abr, 18:30 + 22:00 > Bottle Rocket (1996) | Sex 15 Abr, 18:30 + 22:00 + 24:00 > Rushmore (1998) | Sáb 16 Abr,

18:30 + 22:00 + 24:00 > The Royal Tenenbaums (2001) | Dom 17 Abr, 18:30 + 22:00 > The Squid and the Whale (2005)

| Seg 18 Abr, 18:30 + 22:00 > The Life Aquatic with Steve Zissou (2004) | Ter 19 Abr, 18:30 + 22:00 > Marie Antoinette

(2006) | Qua 20 Abr, 18:30 + 22:00 > The Darjeeling Limited (2007) | Qui 21 Abr, 18:30 + 22:00 > A Glimpse Inside the

Mind of Charles Swan III (2012 ) | Sex 22 Abr, 18:30 + 22:00 + 24:00 > Fantastic Mr. Fox (2009) | Sáb 23 Abr, 18:30 +

22:00 + 24:00 > Moonrise Kingdom (2012 )

TEL > 229 610 1231 | info@ boualibenhoja.pt | www.boualibenhoja.pt | Organização > Associação BouAli’BenhoJa

Ciclo Novos RealizadoresMatosinhos | 14 - 13 Abril ‘013

Qui 14 Abr, 18:30 + 22:00 > Bottle Rocket (1996) | Sex 15 Abr, 18:30 + 22:00 + 24:00 > Rushmore (1998) | Sáb 16 Abr,

18:30 + 22:00 + 24:00 > The Royal Tenenbaums (2001) | Dom 17 Abr, 18:30 + 22:00 > The Squid and the Whale (2005)

| Seg 18 Abr, 18:30 + 22:00 > The Life Aquatic with Steve Zissou (2004) | Ter 19 Abr, 18:30 + 22:00 > Marie Antoinette

(2006) | Qua 20 Abr, 18:30 + 22:00 > The Darjeeling Limited (2007) | Qui 21 Abr, 18:30 + 22:00 > A Glimpse Inside the

Mind of Charles Swan III (2012) | Sex 22 Abr, 18:30 + 22:00 + 24:00 > Fantastic Mr. Fox (2009) | Sáb 23 Abr, 18:30 +

22:00 + 24:00 > Moonrise Kingdom (2012)

TEL > 229 610 1231 | info@ boualibenhoja.pt | www.boualibenhoja.pt | Organização > Associação BouAli’BenhoJa

/// CARTAZESTUDOS

Ciclo Novos RealizadoresMatosinhos | 14 - 13 Abril ‘013

Qui 14 Abr, 18:30 + 22:00 > Bottle Rocket (1996) | Sex 15 Abr, 18:30 + 22:00 + 24:00 > Rushmore (1998) | Sáb 16 Abr,

18:30 + 22:00 + 24:00 > The Royal Tenenbaums (2001) | Dom 17 Abr, 18:30 + 22:00 > The Squid and the Whale (2005)

| Seg 18 Abr, 18:30 + 22:00 > The Life Aquatic with Steve Zissou (2004) | Ter 19 Abr, 18:30 + 22:00 > Marie Antoinette

(2006) | Qua 20 Abr, 18:30 + 22:00 > The Darjeeling Limited (2007) | Qui 21 Abr, 18:30 + 22:00 > A Glimpse Inside the

Mind of Charles Swan III (2012) | Sex 22 Abr, 18:30 + 22:00 + 24:00 > Fantastic Mr. Fox (2009) | Sáb 23 Abr, 18:30 +

22:00 + 24:00 > Moonrise Kingdom (2012)

TEL > 229 610 1231 | info@ boualibenhoja.pt | www.boualibenhoja.pt | Organização > Associação BouAli’BenhoJa

Ciclo Novos RealizadoresMatosinhos | 14 - 13 Abril ‘013

Qui 14 Abr, 18:30 + 22:00 > Bottle Rocket (1996) | Sex 15 Abr, 18:30 + 22:00 + 24:00 > Rushmore (1998) | Sáb 16 Abr,

18:30 + 22:00 + 24:00 > The Royal Tenenbaums (2001) | Dom 17 Abr, 18:30 + 22:00 > The Squid and the Whale (2005)

| Seg 18 Abr, 18:30 + 22:00 > The Life Aquatic with Steve Zissou (2004) | Ter 19 Abr, 18:30 + 22:00 > Marie Antoinette

(2006) | Qua 20 Abr, 18:30 + 22:00 > The Darjeeling Limited (2007) | Qui 21 Abr, 18:30 + 22:00 > A Glimpse Inside the

Mind of Charles Swan III (2012) | Sex 22 Abr, 18:30 + 22:00 + 24:00 > Fantastic Mr. Fox (2009) | Sáb 23 Abr, 18:30 +

22:00 + 24:00 > Moonrise Kingdom (2012)

TEL > 229 610 1231 | info@ boualibenhoja.pt | www.boualibenhoja.pt | Organização > Associação BouAli’BenhoJa

//// BANNERSex 15 Abr, 18:30 + 22:00 + 24:00Rushmore (1998)

Sáb 16 Abr, 18:30 + 22:00 + 24:00The Royal Tenenbaums (2001)

Dom 17 Abr, 18:30 + 22:00The Squid and the Whale (2005)

Seg 18 Abr, 18:30 + 22:00The Life Aquatic with Steve Zissou (2004)

Qui 14 Abr, 18:30 + 22:00Bottle Rocket (1996)

Ter 19 Abr, 18:30 + 22:00Marie Antoinette (2006)

Quar 20 Abr, 18:30 + 22:00The Darjeeling limited (2007)

Qui 21 Abr, 18:30 + 22:00A Glimpse Insde the Mind of Charles Swan III (2012)

Sex 22 Abr, 18:30 + 22:00 + 24: 00Fantastic Mr. Fox (2009)

Sáb 23 Abr, 18:30 + 22:00 + 24: 00Moonrise Kingdom (2012)

Matosinhos | 14 - 13 de abril ‘13Ciclo Novos Realizadores

TEL > 229 610 1231 || |info@ boualibenhoja.pt www.boualibenhoja.pt Associação BouAli’BenhoJa

///// POSTAIS

TEL | 229 610 1231

info@ boualibenhoja.pt | www.boualibenhoja.pt

Organização | Associação BouAli’BenhoJa

The Squid and the Whale (2005)

////// TSHIRT & PIN

Ciclo Novos Realizadores

Ciclo Novos Realizadores

////// ANÚNCIO DE JORNAL