Cristiane Oliveira is a Brazilian film director, screenwriter, and producer. Her feature debut, Mulher do Pai (Brazil-Uruguay, 2016), premiered internationally at the 2017 Berlin International Film Festival. The film screened at more than 20 festivals and received 20 awards, including the FIPRESCI Prize at the International Film Festival of Uruguay; three awards at the 2016 Rio Film Festival (Best Director, Cinematography, and Supporting Actress); Best Screenplay at Cinema Jove in Valencia, Spain; and the ABRACCINE Award at the São Paulo International Film Festival. During development, the project was selected for the Produire au Sud Lab in Nantes in 2010 and the 2011 Talent Project Market at the Berlin International Film Festival, where it received the VFF Talent Highlight Pitch Award. Her second feature, A Primeira Morte de Joana, won the Critics’ Jury Kikito for Best Film at the Gramado Film Festival and the Global Vision Award at Cinequest in the United States. The film received 11 awards and screened at more than 40 festivals worldwide, including international festivals in India, Athens, and Uruguay, as well as NewFest in New York. After participating in the Berlin Co-Production Market, the project attracted the attention of French distributor Epicentre Films, which became an associate producer and released the film theatrically and on DVD in France under the title Secret de Famille. Her third feature, Até que a Música Pare, a Brazil-Italy co-production, was selected for the Talents Script Station at the 2021 Berlin International Film Festival and EAVE on Demand in 2020. It premiered at the 2023 Rio Film Festival, had its international premiere at the 39th Santa Barbara International Film Festival, and won Best Director at the 42nd Bergamo International Film Festival. Born in Porto Alegre, Brazil, Oliveira holds a degree in Social Communication from PUCRS. She began her film career directing the short films Messalina (2004) and Hóspedes (2008). From 2005 to 2007, she coordinated production company Clube Silêncio, during which the feature films Ainda Orangotangos, directed by Gustavo Spolidoro, and Cão Sem Dono, directed by Beto Brant and Renato Ciasca, were produced, alongside short films and television films. From 2009 to 2011, Oliveira served as Executive Coordinator of the ANIMATV Program, which supported the production of two animated series and 17 series projects. She later joined the production teams of Zica e os Camaleões (2013) and Vivi-Viravento (2015). She has also worked as an assistant director on feature films, shorts, and series, including Gustavo Galvão’s Nove Crônicas para um Coração aos Berros (2012) and Ainda Temos a Imensidão da Noite (2019), on which she also served as co-screenwriter and associate producer. Oliveira also works as a screenwriting consultant, collaborating on projects including Laís Bodanzky’s A Viagem de Pedro and Alê Abreu’s Perlimps, whose director was nominated for an Academy Award for The Boy and the World.
