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Bruno Fatumbi Torres


Filmmaker, environmentalist and impact producer, he won more than 30 individual awards in his career. He is a founding partner of Fatumbi Films and Aquarela Midwest, companies exclusively dedicated to audiovisual production with socio-environmental responsibility. His short films won more than 100 awards, competing in festivals such as Huesca International Film Fest, Festival del Nuevo Cine Americano de Havana and International Film Festival of Valencia Cinema Jove. Early in his career, he won the SIGNIS OCIC award and produced the short MEU AMIGO NIETZSCHE (50 awards in Brazil and abroad; best short film by the popular jury and the "Fernand Raynaud" award at the Festival International Du Court Métrage à Clermont Ferrand) . Partner of Academia Brasileira de Cinema, in 2016 he was part of the selection committee of the Brazilian representative for the Goya Award. In 2016, he was Master of Ceremonies at the 18th Assembly of RedLAC (Network of Environmental and Social Funds in Latin America). In 2018, he was master of ceremonies at the celebration of the 15th anniversary of the Protected Areas of the Amazon Program (ARPA). And in 2020, he became the first Brazilian artist to offset the carbon of all his professional and personal activities, through the companies Ecooar, Sustainable Carbon and Iniciativa Verde. In 2022, he released his first feature as a director, A ESPERA DE LIZ, filmed in Brazil and Venezuela. The production was recognized as the first in the history of Brazilian cinema to offset all carbon emissions from its production, with transparency and online public auditing. Also in 2022, he received the Audience Award from the World Cinema Fund – Berlinale as a producer, for the project A ONÇA, a film that denounces the progressive and devastating deforestation of the Brazilian Cerrado. In 2023, he will film the feature A COLMEIA, in Brasília-Brazil and in the Atacama Desert – Chile. With 100% of the budget raised (R$ 4,500,00.00), the film's theme is the degradation of nature and the oppression of the capitalist system. In addition, it has a Code of Sustainable Audiovisual Practice, which values local labor, gender and racial equality in the technical team, and socio- environmental compensation for any negative impact of production.

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