In The Intense Now

dir. João Moreira Salles

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In the Intense Now was made after the discovery of some lost footage from the director's amateur mother from the cultural revolution in China, 1966. It is a documentary that explores the futile nature of historical moments that gathered great intensity. Moreira Salles achieves a historical rundown that shows movements like Paris 68, Praga's spring, and the conflicts in Brazil. In the Intense Now is a docu-essay like the works of Chris Marker, Harum Farocki and Péter Forgács. There is not a special picture that was filmed particularly for this documentary. Everything is archive, everything is memory, everything is investigation. As he had done previously, in Santiago (2007), he spoke in his brother's voice. Moreira Salles critics domestic tapes, urban scenes, and extracts from cinema magazines about May 68.

Director / João Moreira Salles Screenplay / João Moreira Salles Editing / Eduardo Escorel, Lais Lifschitz Sound / Denilson Campos Original Score / Rodrigo Leão Production Company: VideoFilmes Production: Maria Carlota, Fernandes Bruno, Antonio Venancio

Documentaries, 127 min.

João Moreira Salles

Rio du Janeiro, 1966. Documentary filmmaker and the president of the Instituto Morerira Salles. In 2006 he stablished the Cultura Piaquí magazine. He also teached documentary cinema at the Universidad Pontífica Católica de Río de Janeiro and at Princeton University. After his documentaries, such as "Entreatos"  and "Santiago," "In the Intense Now," was part of the official selection at BAFICI, and won the Phoenix price for best documentary. His last feature film started with the late discovery of her the films her mother made during a China trip in 1966. Since then, and for inexplicable reasons that would take a long time to understand, he discovered 1968 and the french month. The period was of interest to him for many reasons, but one specifically because it was related to nature and the images in produced during that year. There were many 1968's within 1968. Some happened in democatric countries, others in fascists regimes, other in closed regimes were there were essays that invited dialogue and in soft dictatorships that would briefly opted for answers that were deeply influenced by authoritarism, as in the case of Brazil. Every political context produced an specific type of image.


  • 2017 — No Intenso Agora
  • 2006 — Santiago
  • 2004 — Entreatos
  • 2003 — Nelson Freire
  • 1999 — Notícias de Uma Guerra Particular
  • 1998 — Futebol
  • 1990 — Blues
  • 1989 — América

Festivales y Premios

  • 2017 Santiago Festival Internacional de Cine
  • 2017 Festival Internacional de Cine de Chicago
  • 2017 Buenos Aires Festival de Cine Independiente
  • 2017 Festival Internacional de Cine de Buenos Aires
  • 2017 Festival de Cine de Jerusalén
  • 2017 VIENNALE
  • 2017 Festival Internacional de Cine de Mar del Plata
  • 2017 IDFA
  • 2018 FICUNAM
  • 2018 AMBULANTE
  • 2018 Cinema Du Réel:Premio a Mejor Música Original
  • Premio SCAM
  • Premio Bibliotecas


“It’s a documentary that’s really a meditation — history made poetic. It’s an immersive and highly personal film (…) The footage we see is fascinating.”
– Owen Gleiberman: Variety 

“A poetic and melancholy meditation on the passing of time and the revolutions that could have been, but never were (…) its starting point amply transcends in orted to establish an intimate dialogue between the personal and the public.”
– Luciano Monteagudo: Diario Página 12

“A fascinating cinematographical essay (…) Salles deconstructs, with empathy, the act of filming.”
– Bill Stamets: Chicago Sun-Times

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