• Parque Oeste

    Sinopsys

    Documentary  |  70 minutes  |  2018

    Parque Oeste emerges from the short film Real Conquista (2017) and tells the story of Eronilde Silva, who in February 2005, along with 3000 other families, was violently removed from the area she occupied in the Parque Oeste Industrial neighborhood, in Goiânia, Goiás, Brazil.

    The film merges archival and current images, revealing that, through resistance, Eronilde finds her way of living, despite everything.


    TRAILER

     

    Presentation

    “This project was awarded by the Edital de Fomento do Audiovisual of the Art and Culture Fund of the State of Goiás 2017”

    Awards and Exhibitions


    • Visions of Resistance at the Museum of the Moving Image, NY | 2020
    • Festival Brésil en Mouvements, Paris | 2019
    • "Sequência" Award at the 3rd Mostra SESC de Cinema, Paraty | 2019
    • Best film from the Mostra Olhos Livres at the 22nd Tiradentes Cinema Show, MG | 2019
    • Honorable mention at the 8th Cinema Ecofalante Mostra, São Paulo | 2019
    • Honorable mention at the 10th Film Week, Rio de Janeiro | 2018

    Reviews


    Tiradentes' longest palms

    The incomprehensible is what… Instead of wasting time debating the meaning of the word, a synonym is more succinct: Brazil. A country where conceiving the social structure challenges its own intellectual sense. If literalness was something that remained in several fictions in cinema, as it has a direct force against the metaphorical politics that has haunted art for so many years, in the documentary field this formality was almost never present. Among the names already awarded in our history such as: Eduardo Coutinho, João Moreira Salles, Kiko Goifman and others, at this moment we have: Petra Costa, Maria Augusta Ramos, Susanna Lira and Fabiana Assis. […] — By Vitor Velloso on the Vertentes do Cinema website

    New lives in the Midwest

    […] documentary filmmaker Fabiana Assis, creator of the PirenópolisDoc Festival, presented the short film Real Conquista. Through it we met Eronilde Nascimento, one of the victims of a violent eviction that occurred in Goiânia, in 2005. Victim is a way of saying it, because she exudes overcoming and vitality. After the episode, in which 13,000 people were forcibly evicted from the Parque Oeste neighborhood, 3,500 houses were demolished by bulldozers and at least two residents died (among them her partner), Eronilde started to mobilize and organize the community with a view to winning over new decent space to live. […] The partnership of Fabiana Assis and Eronilde Nascimento is another happy meeting of women with which Brazilian cinema has been enriching and diversifying. — By Carlos Alberto Mattos on his blog

    The city is a battlefield

    […] It is from the battlefield of Parque Oeste, on the outskirts of Goiânia, that Fabiana Assis’s film speaks. The present of the film is 10 years from the event that tells its protagonist, Eronilde Nascimento, who takes us to the great open space that turned the region of Parque Oeste today, to access the past images of that occupation with more than 3500 people. From his remembrance in loco, the camera walks guided by Eronilde, who locates what was raised on the earth, remembers the lives that lived there and activates the images of that past. […] — By Francisco Miguez in Cinética magazine

    A resistance film

    […] the choice of the camera to follow Eronilde’s steps until the return to Parque Oeste, an abandoned place and without those condominiums speculated by great magnates of the real estate industry, left me stuck in the cinema chair. The director impresses because of her sensitivity when entering the world of those socially vulnerable people, respecting their stories, pains and scars.[…] — By Marcus Vinicios Beck in the Metamorfose Journal

    Parque Oeste, by Fabiana Assis, brings a history of pain and resistance

    […] Parque Oeste has the language of classic documentary, but follows a script that lets the viewer have a fictional experience, with a story that begins by placing the viewer within Eronilde’s daily life. Soon after, there is an explosion of emotion, with scenes of eviction. Anguish reaches the public, but soon Fabiana takes her character out of the position of pain to show her as an agent that transforms realities. […] — By Etienne Jacintho in the newspaper O tempo

    Struggle for memory

    […] And that is what perhaps the director does best. Armed with cell phone footage of several of the people who were raped by the government of Goiás, Fabiana builds from the day of violence in the form of expropriation worthy moments of the most terrifying horror films in the found footage style. The film assembles these images, where two residents were officially murdered, with coherence and talent, showing the war zone that the police transformed a peaceful environment, and at times we even wondered if this is not really a typical production gender, size is the sense of panic that those people find themselves immersed in, taking the viewer to that house about to be invaded. […] — By Francisco Carbone on the Cineplayers website

    Believing is a Choice

    […] The Tiradentes Jury sees resistance as the only possibility, but it is interesting to note that the forms of this resistance to manifest are multiple. This is what makes the film so engaging. Despite the life of those who fight for the land having an air of announced tragedy, there are processes within the process. Eromilde, in her statements, shows the importance of maintaining possession, consolidating and expanding it. In parallel, the search for justice must never be abandoned. Only in this way is it possible to recognize the murders of Pedro and Wagner – and later of the previously invisible deaths, which audiovisual works such as “Parque Oeste” have as their primary function to prevent future erasures. […] — By Jorge Cruz Júnior on the website Apostila de Cinema