FROM FILM SCHOOL TO THE WORLD: the genesis of our cinematic language

The journey of Cinemáticos Filmes has been shaped by a series of projects that functioned as laboratories of language, spaces of experimentation, and intense encounters with the art of cinema. These early works, many conceived within an academic context and in hybrid formats, were not merely formative stages but conceptual and sensory exercises that taught us to approach cinema as a process.

Among our earliest efforts, academic projects emerged as vectors of investigation and aesthetic imagination. In “Kino-Igra", we explored the intersection between games and cinema, questioning the nature of representation and the role of the spectator within a narrative universe shaped by media convergence. “Jogos Formais” examined the tension between auteur and commercial cinema, placing the artist within the traps of their own creation in a metafictional interplay of intention and ambiguity. In the same experimental field, “Roubaram Nosso Filme” emerged as a radical exercise in metacinema, challenging the boundaries between work, authorship, and creative process by turning cinema itself into its object of inquiry. Each of these projects, and many others, enabled the intertwining of techniques and concepts that gradually shaped our cinematic identity and distinctive language.

Within this trajectory, short films became the most visible and refined expressions of our aesthetic and narrative research. Works such as “The Lumberjack Killer", “Mythos", “Fasting", and “Gazing at the Universe” allowed us to refine technical aspects while deepening our understanding of atmosphere, form, and sensory rhythm beyond plot-driven storytelling. These films represent spaces of creative freedom where horror, drama, fantasy, and science fiction intersect in hybrid and engaging ways.

Among them, “Start” stands out as a singular milestone, blending fictional narratives with immersive worlds to question our relationship with systems, choices, identity, and artificiality within virtual environments, a powerful metaphor for the human condition in both present and future. Its impact goes beyond the more than 30 international awards it received, resonating as a symptom of our ongoing search for expressions that transcend conventional genres and narratives.

All of our works, in their differences and convergences, are intensive exercises in a poetic language in constant evolution, an invitation to move beyond ordinary perception and access more subtle dimensions of imagination and human sensitivity.