{"id":223,"date":"2025-09-02T11:46:38","date_gmt":"2025-09-02T10:46:38","guid":{"rendered":"https:\/\/research.reading.ac.uk\/films-to-die-for\/?page_id=223"},"modified":"2025-10-13T15:57:01","modified_gmt":"2025-10-13T14:57:01","slug":"our-team","status":"publish","type":"page","link":"https:\/\/research.reading.ac.uk\/films-to-die-for\/our-team\/","title":{"rendered":"Our Team"},"content":{"rendered":"<p>[vc_row][vc_column width=&#8221;1\/2&#8243;][vc_single_image image=&#8221;339&#8243; img_size=&#8221;medium&#8221; onclick=&#8221;link_image&#8221;][vc_column_text]<\/p>\n<h2><strong>Director &#8211; L\u00facia Nagib\u00a0<\/strong><\/h2>\n<p>[\/vc_column_text][vc_column_text]<a href=\"https:\/\/www.reading.ac.uk\/film-theatre-television\/staff\/professor-lucia-nagib\"><strong>L\u00facia Nagib<\/strong><\/a> <strong>FBA<\/strong> is Professor of Film at the University of Reading and Honorary Professor of Film at the University of Nottingham, Ningbo.<\/p>\n<p>She is an internationally recognised specialist in world cinema, cinematic realism and cinematic intermediality,\u00a0which she has explored through a novel approach in many publications, including her single-authored books,\u00a0<em>Realist Cinema as World Cinema: Non-cinema, Intermedial Passages, Total Cinema\u00a0<\/em>(Amsterdam University Press, 2020) and\u00a0<em>World Cinema and the Ethics of Realism\u00a0<\/em>(Bloomsbury, 2011).\u00a0Her edited books include <em>The Moving Form of Film: Historicising the Medium Through Other Media <\/em>(with Stefan Solomon, Oxford University Press, 2023), <em>Towards an Intermedial History of Brazilian Cinema <\/em>(with Luciana Ara\u00fajo and Tiago de Luca, Edinburgh University Press, 2022), <em>Impure Cinema: Intermedial and Intercultural Approaches to Film <\/em>(with Anne Jerslev, I.B. Tauris, 2013), <em>Theorizing World Cinema <\/em>(with Chris Perriam and Rajinder Dudrah, I.B. Tauris, 2012) and <em>Realism and the Audiovisual Media <\/em>(with Cec\u00edlia Mello, Palgrave, 2009). Before <em>Films to Die For, <\/em>she directed, with Samuel Paiva, the award-winning feature-length documentary film, <em>Passages <\/em>(UK, 2019).[\/vc_column_text][\/vc_column][vc_column width=&#8221;1\/2&#8243;][vc_single_image image=&#8221;343&#8243; img_size=&#8221;medium&#8221; onclick=&#8221;link_image&#8221;][vc_column_text]<\/p>\n<h2><strong>Editor &#8211; Tatiana Germano<\/strong><\/h2>\n<p>[\/vc_column_text][vc_column_text]Tatiana Germano\u00a0is an award-winning film editor with long track-record across film, TV, and digital media in the UK and Brazil. She brings an auteur-driven approach to editing, shaped by a background in visual storytelling and narrative structure.<\/p>\n<p>Her recent work includes\u00a0<em>Passages\u00a0<\/em>(L\u00facia Nagib and Samuel Paiva, 2019), <em>Turner <\/em>(Joanna Mammede, 2024) and\u00a0<em>Notes on Listening\u00a0<\/em>(Francisco Mazza, 2024), which featured at international festivals and arthouse cinemas around the world.[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text]<\/p>\n<h2><strong>CREDITS<\/strong><\/h2>\n<p><strong><em>Films To Die For<\/em><\/strong><\/p>\n<p><strong>UK 2025, 89 minutes<\/strong><\/p>\n<p><strong>Director and Producer<\/strong><\/p>\n<p>L\u00facia Nagib<\/p>\n<p><strong>Script<\/strong><\/p>\n<p>L\u00facia Nagib and Tatiana Germano<\/p>\n<p><strong>Editor<\/strong><\/p>\n<p>Tatiana Germano<\/p>\n<p><strong>Interviews with (in order of appearance)<\/strong><\/p>\n<p>Wim Wenders; Paulo Branco; Walter Salles; Laura Mulvey<\/p>\n<p>Glauber Rocha\u2019s letters read by Victor Fraga<\/p>\n<p><strong>Camera and Sound<\/strong><\/p>\n<p><strong>Portugal unit:<\/strong><\/p>\n<p>Francisco Baccaro (DoP); Diogo Dobbin<\/p>\n<p><strong>Berlin unit:<\/strong><\/p>\n<p>Rodrigo Levy (DoP); Benjamin Raeder<\/p>\n<p><strong>UK unit:<\/strong><\/p>\n<p>Rodrigo Levy (DoP); Shoib Ahmad; Andrew Philip; Hsin Hsieh<\/p>\n<p><strong>Supervising Sound Editor<\/strong><\/p>\n<p>Miriam Biderman, ABC<\/p>\n<p><strong>Re-recording Mixer<\/strong><\/p>\n<p>Ricardo Reis, ABC<\/p>\n<p><strong>Post Sound Facility<\/strong><\/p>\n<p>Effects Filmes<\/p>\n<p><strong>Colour grading<\/strong><\/p>\n<p>Tatiana Germano<\/p>\n<p><strong>Promotional design<\/strong><\/p>\n<p>Kornelia Kucharska<\/p>\n<p><strong>Films cited (in order of appearance)<\/strong><\/p>\n<p><em>The State of Things <\/em>(<em>Der Stand der Dinge, <\/em>Wim Wenders, 1982)<\/p>\n<p><em>The Age of the Earth <\/em>(<em>A idade da terra, <\/em>Glauber Rocha, 1980)<\/p>\n<p><em>Glauber the Movie, Labyrinth of Brazil <\/em>(<em>Glauber o filme, labirinto do Brasil, <\/em>S\u00edlvio Tendler, 2003)<\/p>\n<p><em>The American Friend <\/em>(<em>Der amerikanische Freund, <\/em>Wim Wenders, 1977)<\/p>\n<p><em>One From the Heart <\/em>(Francis Ford Coppola, 1981)<\/p>\n<p><em>Wrong Move <\/em>(<em>Falsche Bewegung, <\/em>Wim Wenders, 1975)<\/p>\n<p><em>The Territory <\/em>(<em>O territ\u00f3rio, <\/em>Ra\u00fal Ruiz, 1981)<\/p>\n<p><em>Friendship\u2019s Death <\/em>(Peter Wollen, 1987)<\/p>\n<p><em>Foreign Land <\/em>(<em>Terra estrangeira, <\/em>Walter Salles and Daniela Thomas, 1995)<\/p>\n<p><em>Lightening Over Water <\/em>(Wim Wenders, 1980)<\/p>\n<p><em>Hammett <\/em>(Wim Wenders, 1982)<\/p>\n<p><em>Paris, Texas <\/em>(Wim Wenders, 1984)<\/p>\n<p><em>Reverse Angle <\/em>(Wim Wenders, 1982)<\/p>\n<p><em>Four Nights of a Dreamer <\/em>(<em>Quatre nuits d\u2019un r\u00eaveur, <\/em>Robert Bresson, 1971)<\/p>\n<p><em>Francisca <\/em>(Manoel de Oliveira, 1981)<\/p>\n<p><em>Beauty and the Beast <\/em>(<em>La Belle et la b\u00eate, <\/em>Jean Cocteau, 1946)<\/p>\n<p><em>Alekan, La lumi\u00e8re <\/em>(Michel Dumoulin, 1985)<\/p>\n<p><em>Breathless <\/em>(<em>A bout de souffle, <\/em>Jean-Luc Godard, 1960)<\/p>\n<p><em>Crystal Gazing <\/em>(Laura Mulvey and Peter Wollen, 1982)<\/p>\n<p><em>La Collectionneuse <\/em>(Eric Rohmer, 1967)<\/p>\n<p><em>The Day the World Ended <\/em>(Roger Corman, 1959)<\/p>\n<p><em>The Most Dangerous Man Alive <\/em>(Alan Dwan, 1961)<\/p>\n<p><em>Dead Pigeon on Beethoven Street <\/em>(Samuel Fuller, 1972)<\/p>\n<p><em>Alice in the Cities <\/em>(<em>Alice in den St\u00e4dten, <\/em>1974)<\/p>\n<p><em>Central Station <\/em>(<em>Central do Brasil, <\/em>Walter Salles, 1998)<\/p>\n<p><em>Riddles of the Sphinx <\/em>(Laura Mulvey and Peter Wollen, 1977)<\/p>\n<p><em>Change of Life <\/em>(<em>Mudar de vida, <\/em>Paulo Rocha, 1966)<\/p>\n<p><em>In the White City <\/em>(<em>Dans la ville blanche, <\/em>Alain Tanner, 1983)<\/p>\n<p><em>Non, or the Vain Glory of Command <\/em>(<em>Non, ou a v\u00e3 gl\u00f3ria de mandar, <\/em>Manoel de Oliveira, 1990)<\/p>\n<p><em>Lisbon Story <\/em>(Wim Wenders, 1994)<\/p>\n<p><em>The Passenger <\/em>(<em>Professione: Reporter, <\/em>Michelangelo Antonioni, 1975)<\/p>\n<p><em>Entranced Earth <\/em>(<em>Terra em transe, <\/em>Glauber Rocha, 1967)<\/p>\n<p><em>Black God, White Devil <\/em>(<em>Deus e o diabo na terra do sol, <\/em>Glauber Rocha, 1964)<\/p>\n<p><em>Wind from the East <\/em>(<em>Le Vent d\u2019est, <\/em>Dziga Vertov Group\/Jean-Luc Godard and Jean-Pierre Gorin, 1970)<\/p>\n<p><em>The Guns and the People <\/em>(<em>As armas e o povo, <\/em>Colectivo de Trabalhadores da Actividade Cinematogr\u00e1fica, 1975)<\/p>\n<p>&nbsp;<\/p>\n<p><strong>Music<\/strong><\/p>\n<p><strong>\u201cState of Things\u201d<\/strong><\/p>\n<p>Composed and performed by J\u00fcrgen Knieper<\/p>\n<p><strong>\u201cHaar\u201d<\/strong><\/p>\n<p>Written and performed by Erland Cooper. Published by Full Time Hobby. Publishing Administered by Bucks Music Group Ltd<\/p>\n<p><strong>\u201cHaar\u201d<\/strong><\/p>\n<p>Composed and performed by Lucie Treacher and Joaquim Badia<\/p>\n<p><strong>International Distributor<\/strong><\/p>\n<p>Yixiang Lin<\/p>\n<p><strong>Source Work<\/strong><\/p>\n<p>Nagib, L\u00facia (2020), \u2018The Death of (a) Cinema\u2019, in: <em>Realist Cinema as World Cinema: Non-Cinema, Intermedial Passages, Total Cinema. <\/em>Amsterdam: Amsterdam University Press, pp. 41-61.<\/p>\n<p>&nbsp;<\/p>\n<p>Fragments of <em>Sintra is a Beautiful Place to Die, <\/em>a video interview with Glauber Rocha by Patrick Bauchau (1981) were obtained from <em>Glauber the Film, Labyrinth of Brazil <\/em>(Silvio Tendler, 2003)<\/p>\n<p>&nbsp;<\/p>\n<p><strong>\u00a0<\/strong><\/p>\n<p><strong><em>To Glauber Rocha and L\u00facia Rocha, in memoriam<\/em><\/strong><\/p>\n<p>&nbsp;<\/p>\n<p><strong>\u00a0<\/strong><\/p>\n<p><strong>Special Thanks to:<\/strong><\/p>\n<p>The University of Reading<\/p>\n<p>&nbsp;<\/p>\n<p><strong>Thanks to:<\/strong><\/p>\n<p>Abeer Mohamed, Amie Cliffen, Anna Fraga McLucas, Casa das Minas (Sintra), Catherine Grant, Cec\u00edlia Mello, Chris Bacon, Christian Keathley, Chris O\u2019Shea, Christine Rennert, Claire Brunel, Daniel Ribas, Emily Hughes, Hella Wenders, Hotel Arribas (Sintra), Jasmine Haynes-Bell, Jo\u00e3o Lemos, Jo\u00e3o Vitor Resende Leal, John Archer, John Gibbs, Jonathan Bignell, Leonor Batista, Leopardo Filmes, Luciana Corr\u00eaa de Ara\u00fajo, Lucie Treacher, Maria Carlota Bruno, Maria do Carmo Pi\u00e7arra, Marta Ravani, Mona Camargo, Patr\u00edcia Monteiro, Paulo Dias Branco, Paulo Filipe Monteiro, Rodrigo Lari\u00fa, Samuel Paiva, Stephen Shennan, Susanne Becker, Tiago de Luca, Wim Wenders Stiftung[\/vc_column_text][\/vc_column][\/vc_row]<\/p>\n","protected":false},"excerpt":{"rendered":"<p>[vc_row][vc_column width=&#8221;1\/2&#8243;][vc_single_image image=&#8221;339&#8243; 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