Mercúrio Produções LTDA, a film production company founded in 2001 by Helena Ignez, Djin Sganzerla and Sinai Sganzerla, is responsible for the entire cinematographic work of filmmaker Rogério Sganzerla, in addition to the audiovisual productions of its founders. The production company has more than thirty movies under its belt and numerous awards. Mercurio’s features include, amongst others:

Ocean Girl (Mulher Oceano) (2020), directed by Djin Sganzerla, winner of fourteen awards, as Best Feature Film at Porto Femme International Film Festival, Portugal; at the 24th Festival Cine PE, Brazil; at the Santos International Film Festival, Brazil; Best Director at the 44th Festival Guarnicê de Cinema, São Luís, Brazil and at the 28th Festival de Cinema de Vitória, Brazil;

The Woman With Her Own Light (A Mulher da Luz Própria) (2019), directed by Sinai Sganzerla, screened at 41st Havana International Film Festival (Cuba), at 18th International Filmmor Women’s Film Festival, Istanbul, Turkey, at Festival Internacional de Cine de Viña del Mar FICVIÑA, Chile, and was awarded at festivals;

Fakir (2019), directed by Helena Ignez, screened at 52nd Festival de Brasília, at the
opening of the 14th Festival de Cinema Latino-Americano de São Paulo, at 9th edición do Festival Primavera do Cine em Vigo – Spain, award as Best Feature Film at Cinefantasy and at 1st Festival As Amazonas do Cinema, screened in other festivals;

Extracts (Extratos) (2019), directed by Sinai Sganzerla, winner of awards and honorable mention at festivals, including the Special Jury Award at 29th Festival Curta Cinema Rio de Janeiro International Short Film Festival, screened at 10th Aesthetica Film Festival, UK, at Latino & Iberian Film Festival at Yale (LIFFY), USA, at 48th Festival de Cinema de Gramado, Brazil and others.

The Dismantling of the Mount (O Desmonte do Monte) (2018), directed by
Sinai Sganzerla, screened at the 31st Cinélatino – Rencontres de Toulouse in France,
being the only Brazilian documentary in the competition, screened at 10th
CineMigrante, Buenos Aires – Argentina, winner as Best Research at Arquivo em
Cartaz – International Archive Film Festival, Brazil;

My Calendar Girl (A Moça do Calendário) (2017), directed by Helena Ignez, Audience’s Choice for Best Feature, and Best Actor in the 21st Festival Luso Brasileiro in Portugal, among other awards, screened at 22nd Queer Lisboa – International Queer Film Festival and others;

Ralé – The Lower Depths (Ralé) (2015), directed by Helena Ignez, Best Director at Mix Brasil Festival, screened at 34th Filmfest Muenchen, Germany, at VIII Janela
Internacional de Cinema do Recife, at Festival do Rio, at 39th São Paulo International Film Festival, at Panorama Internacional Coisa de Cinema, Bahia, Brazil and others;

Van Bora! (2014), produced by Sinai Sganzerla, sponsored by the FSA/FINEP and
Mercedes Benz, a television series in 13 episodes approximately 12 minutes each.
Shown on Canal Brasil in 2015 and on TV Cultura in 2016. The screenplay is by Luiz
Carlos Góes and Joaquim Vicente and directed by Marcus Alvisi;

Bones (Ossos) (2014), directed by Helena Ignez, screened at the 18th Festival de Cinema Luso-Brasileiro, in Portugal, at the 27th Sao Paulo International Short Film Festival – Curta Kinoforum, at the 18th Mostra de Cinema de Tiradentes, at the 14th Mostra do Filme Livre – MFL and at the II Festival Transterritorial Cine Under, Recife;

Power of Affections (Poder dos Afetos) (2013), directed by Helena Ignez, was part of the Official Selection of the 67th Locarno Film Festival, exhibited at Shortcutz Porto, Portugal, at the 6th Film Festival of Portuguese Language Countries – Cineport, at the 37th São Paulo International Film Festival, at the 4th International Film Festival in Balneário Camboriú, CINERAMABC and others;

Ugly, Me? (Feio, Eu?) (2013), directed by Helena Ignez, screened at the Festival do Rio, at the 37th São Paulo International Film Festival, at the 6th Film Festival of Portuguese Language Countries – Cineport, at the 3rd Mostra de Gostoso Film Festival in São Miguel do Gostoso and others;

Light in Darkness – The Return of Red Light Bandit (Luz Nas Trevas – A Volta do Bandido da Luz Vermelha) (2012) directed by Helena Ignez and Ícaro C. Martins, featuring Ney Matogrosso in the leading role, was the only Latin-American feature film competing at the 63rd Locarno Film Festival, winner of the Critics’ Choice for Best Feature, Boccalino D’oro Award;

Baal’s Song (Canção de Baal) (2008), directed by Helena Ignez, winner of the Critics Jury Awards for Best Brazilian Feature Film and Art Director at the 37th Festival de Gramado, winner of the Anno Uno Award at the 8th Festival I Mille Occhi – Festival internazionale del cinema e delle arti in Trieste, Italy, screened at the Marché Du Film at the 62nd Festival de Cannes, invited to the 12th Buenos Aires Festival Internacional de Cine Independiente – BAFICI and others;

The Beauty Queen and the Dinosaur – Making of Belair (A Miss e o Dinossauro – Bastidores da Belair) (2005), directed by Helena Ignez, winner of the Best Director Award at RECINE 2007 – International Archive Film Festival, screened at the 23rd Torino Film Festival, Italy, at the 20th Fribourg International Film Festival, Switzerland, at the 17th Sao Paulo International Short Film Festival – Curta Kinoforum and at the 21st Jihlava International Documentary Film Festival;

The Sign of Chaos (O Signo do Caos) (2005), directed by Rogério Sganzerla, Best Director at 38th Brasilia Film Festival, among other award-winning films as Special Prize at Festival do Rio, screened at Roma International Film Festival, at Torino Film Festival, at the Tekfestival, Rome – Rogério Sganzerla’s Homage and others;

Re-inventing the Street – a Reflection (Reinvenção da Rua) (2003), directed by Helena Ignez, tribute to the North American architect and contemporary artist Vito Acconci, screened at the Mercosul Film and Video Festival, at FEMINA – International Feminine Film Festival, at the 23rd Torino Film Festival, Italy, at the 20th Fribourg International Film Festival, Switzerland and others.

H. J. Koellreutter Information (Informação – H. J. Koellreutter) (2003), directed by Rogério Sganzerla, portrait by Hans-Joachim Koellreutter, one of the most influential figures in the historic School of Music at the Federal University of Bahia, in the 1950s. Screened at the Torino Film Festival, at the 20th Fribourg International Film Festival, Switzerland and at the 53rd Festival Villa-Lobos: Mostra Cine Brasil Música.

B2 (2001), directed by Rogério Sganzerla and Sylvio Renoldi, short film with precious new material, made from leftovers from The Red Light Bandit (O Bandido da Luz Vermelha) and Carnaval na Lama. Screened at the 63rd Locarno Film Festival, the Torino Film Festival and the 20th Fribourg International Film Festival, Switzerland;

All is Brazil (Tudo é Brasil) (1998), directed by Rogério Sganzerla, winner of the Best Film Editing and Historical Research Award and Critics Prize at the Festival de Brasília, São Paulo Association of Art Critics Awards (APCA), screened at the Marché du Film in Cannes, invited by the Cinematheque of Munich, Bavaria, Germany, at the Welles Conference on the film career of Orson Welles, screened at Guggenheim and others;

Black Peril (Perigo Negro) (1992), directed by Rogério Sganzerla, screened at the
Taormina Film Festival, Italy, at the 23rd LA Film Festival, at the Torino Film Festival, at the 20th Fribourg International Film Festival, Switzerland and at the Spectacle Theater – Signs of Chaos – The Films of Rogerio Sganzerla, New York in 2019;

America – The Big Success by Vespucci (América – O grande acerto de Vespúcio) (1992), directed by Rogério Sganzerla, screened at the 23rd Torino Film Festival – Tribute to Rogério Sganzerla and winner of the Best Actor Award at Cine Esquema Novo, Porto Alegre, Brazil 2007;

This is Noel Rosa (Isto é Noel Rosa) (1990), directed by Rogério Sganzerla, presented at the 80th Anniversary of the composer from Vila Isabel and at the Galerie Nationale du Jeu de Paume, Paris, screened at the 23rd Torino Film Festival, Italy – Tribute to Rogério Sganzerla, at the 20th Fribourg International Film Festival, Switzerland, at the 15th São Paulo International Film Festival and others;

Anonymous and Uncommon (Anônimo e Incomum) (1990), directed by Rogério Sganzerla, a documentary about the artist Antonio Manuel, made in co-production with Rioarte, screened at the Torino Film Festival in 2005;

Welles’ Language (Linguagem de Orson Welles) (1990), directed by Rogério Sganzerla, screened at the 46th Locarno Film Festival, invited by the Cinematheque of Munich, Bavaria, Germany, Welles Conference on the film career of Orson Welles, screened at the 23rd Torino Film Festival, Italy and others;

It’s Not All True (Nem Tudo é Verdade) (1985), directed by Rogério Sganzerla, winner of the ABRACI Prize at the Rio Festival, represented Brazil at the Berlin International Film Festival and at Manheim, at the BBC in London and TF1 in Paris, Award as Best Music and Best Editing at 14th Festival de Gramado, Critics Award Best Film at the Festival de Caxambu, shown on BBC TV and in important festivals;

Brazil (Brasil) (1981), directed by Rogério Sganzerla, screened at the III DLA Film
Festival, London, at the International Film Museum Festival, Austria, at the 22nd
Torino Film Festival – Tribute to Rogério Sganzerla, at the 13th CineOP and at the
Spectacle Theater – Signs of Chaos – The Films of Rogerio Sganzerla, New York in 2019;

Noel Rosa by Noel Rosa (Noel por Noel) (1981), directed by Rogério Sganzerla, visual essay about the composer Noel Rosa, winner of the Best Editing Award at the Brasília Festival;

The City of Salvador (Oil Gushed in Bahia) (A Cidade do Salvador (Petróleo Jorrou na Bahia)) (1981), directed by Rogério Sganzerla, a document about the power relations between classes in the sociocultural context of Bahia based on the local history of oil exploration;

The Abyss (Abismu) (1977), directed by Rogério Sganzerla, screened at the Roma Film Festival, at the 22nd Torino Film Festival, 2004 – Tribute to Rogério Sganzerla, at the 20th Fribourg International Film Festival, at the Spectacle Theater – Signs of Chaos – The Films of Rogerio Sganzerla, New York in 2019 and others;

Voyage And Description Of The Guanabara River At The Time Of France Antarctic (Villegagnon) (Trip and Description of the Guanabara River on the occasion of Antártica France (Villegagnon)) (1976), directed by Rogério Sganzerla, screenplay inspired by Jean de Léry’s Journey to the land of Brazil, winner of the Rio de Janeiro Secretariat of Culture Award and screened at the 23rd Torino Film Festival, Italy – Tribute to Rogério Sganzerla;

Copacabana Mon Amour (1970, restored by Mercúrio Produções in 2013 through
Petrobras funding), directed by Rogério Sganzerla, screened at Torino Film Festival, at Fribourg International Film Festival, at 67th Locarno Film Festival, at 9th CineOP – Mostra de Cinema de Ouro Preto, at Spectacle Theater, NY and others;

No Way, Spider (Sem essa, Aranha) (1970), directed by Rogério Sganzerla, presented at Taormina Film Fest in Italy, screened at the 23rd Torino Film Festival – Tribute to Rogério Sganzerla, at the 20th Fribourg International Film Festival, at the 12th BAFICI, at the Cycle: alô alô mundo! invention cinemas in the 68th generation – València La Filmoteca, Madrid and Barcelona and others;

The Woman of Everyone (A Mulher de Todos) (1969), directed by Rogério Sganzerla, winner of the Best Editing and Best Actress Awards at the V Brasilia Festival, Best Film at the I North Brazilian Film Festival, Best Film at the São Carlos Festival, screened at the Tekfestival , Rome – Rogério Sganzerla’s Homage, at the 20th Fribourg International Film Festival, Switzerland – Tribute to Helena Ignez and others;

Comics (Histórias em quadrinhos) (1969), directed by Rogério Sganzerla and Álvaro de Moya, screened at the 23rd Torino Film Festival and at Spectacle Theater – Signs of Chaos – The Films of Rogerio Sganzerla, New York in 2019;

The Red Light Bandit (O Bandido da Luz Vermelha) (1968), directed by Rogério Sganzerla, is considered a classic of Brazilian cinematography, rated by New
Zealander Wellington Film Society as one of the best films in the 20 th  century. It has been continually screened in countless international exhibitions and festivals across Europe, Asia, and the US, as well as in important museums such as London’s Tate Modern and New York’s MOMA. UNESCO has nominated this film as Cultural Heritage Patrimony of Humanity. The film production company has also restored the feature film in 2008;

Documentary (Documentário) (1966), directed by Rogério Sganzerla, screened at the 22nd Torino Film Festival – Tribute to Rogério Sganzerla, at Mostra Cinema à
Vista, Sesc Joaçaba, at the 21st Jihlava International Documentary Film Festival and at Spectacle Theater – Signs of Chaos – The Films of Rogerio Sganzerla, New York in
2019, and others.