filmagem em digital; em preto e branco etc , mas umdocumentario falso ironizando a eterna situacao do cinema brasileiro em querermostrar e divulgar apenas a pobreza, a violencia, o Nordeste e todos os clichesdo pais em festivais mundo afora, diz Andre. E uma situacao, inclusive, pelaqual ele sempre passou com os filmes anteriores essa dificuldade de exibir odiferente, o nao-cliche. Pois bem, agora entregamos um filme onde a cara doBrasil e do cinema brasileiro estao escancaradas, e, mais ainda, ironizadas. Ea pobreza nao como cenario para historias edificantes ou ditas, humanas, mas apobreza que emerge, te apontando o dedo na cara. Muito da incompreensao que cerca uma filmografiaem curso como a de Emanuel Mendes e que, ironicamente, tem ecos com a de seuamigo em longas, Guilherme de Almeida Prado, um dos atores de E Quase Verdade , muito de suaimpopularidade em festivais e mostras, muitos de seus problemas e impasses, sedevem a essa imersao em uma epoca fragmentada e em uma proposta estetica quenao se deixa apreender com facilidade. Pode-se gostar ou nao dessa obra. O quenao se pode negar e a sua coerencia interna.Welcome to the special retrospective we have prepared on directorEmanuel Mendes, whose new short film, It sAlmost True, is all ready for release. The film, a mockumentary shot inblack and white, and the third on the helmer s filmography, has all theelements and idiossyncrasies of this genre, but it also has the personaltrademark and style of its auteur, acinema which does not hide its vocation towards the fantastic and theextraordinary inserted in the reality of everyday man. The text below containssome testimonies as well as detailed analysis on the three shorts directed byMendes so far Assis & Aleteia(2002); Amarar (Wave) (2008) and, ofcourse, It s Almost True (2014).If the cinema is the combination of image plus sound, without the needfor dialogue, like Alfred Hitchcock (1899 1980) used to say, or the lie 24 frames per second, accordingto the famous saying by Jean Luc Godard, or still according to what Germandirector F. W. Murnau said that the idealpicture needs no titles, by its very nature the art of the screen should tell acomplete story pictorially, then the cinema of short films made byBrazilian director Emanuel Mendes, born in countryside Minas Gerais and whoestablished himself in Sao Paulo in 1999, fits the bill accordingly. At leastthe first two of his films, Assis &Aleteia (2002), a love tale inspired by two of the director s greatestpassions, Spanish filmmaker Luis Bunuel (1900 1983) and painter Salvador Dali(1904 1989), and Amarar (Wave) (2008),also a love story with elements of the fantastic and the extraordinary, about ayoung woman (played by Djin Sganzerla, daughter of Brazilian cinema s enfant terible Rogerio Sganzerla) lostin daydreams, incapable of seeing the difference among past, present andfantasies. None of the films contains dialogues, explanations or intertitlesthat help the viewer dive in their labyrinth. What is going on there is not the action based on dialogues, but thefeelings and sensations of the characters, says Mariana Tavares, from RedeMinas TV, who interviewed the director for the 2008 edition of the BeloHorizonte