{"id":350,"date":"2026-01-14T02:42:50","date_gmt":"2026-01-14T02:42:50","guid":{"rendered":"https:\/\/maatproducoes.com.br\/?page_id=350"},"modified":"2026-01-23T23:00:51","modified_gmt":"2026-01-23T23:00:51","slug":"sobre","status":"publish","type":"page","link":"https:\/\/maatproducoes.com.br\/en\/sobre\/","title":{"rendered":"Sobre"},"content":{"rendered":"
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ABOUT MAAT PRODU\u00c7\u00d5ES<\/h1>\t\t\t\t<\/div>\n\t\t\t\t
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Maat Produ\u00e7\u00f5es is an audiovisual production company based in Recife. It was founded by Pernambuco director Danielle Valentim in 2014 and since then has been developing original projects based on the search for a new artistic language that values the definition of black female poetics.<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t

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History, motivation, what it does, how it does it<\/h2>\t\t\t\t<\/div>\n\t\t\t\t
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Maat Produ\u00e7\u00f5es has established itself as a specialized company, meaning that most of its projects, produced during the pandemic, either focus on audiovisual content or on identity-based content.<\/span><\/p>

In 2021, Danielle Valentim began studying African philosophies and, through courses taught by Professor Kati\u00fascia Ribeiro, immersed herself in the concept of Maat brought by the mythology of Kemet, which emerged in Ancient Egypt.<\/span><\/p>

Maat is a Kemetic deity responsible for establishing truth, harmony, righteousness, justice, order, and reciprocity in the universe.\u00a0<\/span><\/p>

According to Kemet mythology, it is before Maat, at the moment of our death, that we are questioned about our righteousness. The feather is the measure that weighs our heart in this court of the goddess. By placing the heart on one side and the feather on the other, Maat assesses whether our actions throughout our lives have made our heart as light as a feather.\u00a0\u00a0<\/span><\/p>

Moved by Maat's precepts of righteousness, justice, and truth, together with a call to sharing proposed by ancestral wisdom, Danielle Valentim decided to found Maat Produ\u00e7\u00f5es and thus contribute to greater diversity on screen and behind the scenes, since for each audiovisual content project produced, there is a choice for directors, screenwriters, producers, and actors who are mostly women, people with disabilities, or self-declared black, brown, and indigenous people; people who, before affirmative action laws, had little representation in leadership positions in Brazilian audiovisual media.\u00a0<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t

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Based on the precept of African philosophy that understands Ancestry as the way we recognize ourselves and others in the world, we have created a company that celebrates the arrival of each member of our project teams, who add to and contribute to the artistic endeavor, which is as collective as it is audiovisual. And when we see our achievements on screen, we honor those who came before us and celebrate the representation of black people in audiovisual content.\u00a0\u00a0<\/span><\/p>

Our first project, a series of interprograms in documentary format called Pretas da Hist\u00f3ria (Black Women in History), emerges as a proposal to take another look at black women, creating and retelling the stories of these women, and thus bringing new forms of representation of black female subjectivities.\u00a0<\/span><\/p>

The range of women overlooked by historiography is so broad that the desire to be a spokesperson for our ancestors pulses intensely in our hearts. And so, guided by the precepts of African philosophy, where reason and emotion go hand in hand, we created another series that highlights the black female personalities who made, and still make, history: the series Hist\u00f3ria de Preta (Black Women's History).<\/span><\/p>

We continue our research, sharing with those who feel touched by our work, creating stories that populate the Brazilian collective imagination, because we believe in audiovisual media as an instrument of healing, but also of sharing and celebration.\u00a0\u00a0<\/span><\/p>

\u201cNo one is so wise that they do not need to be an eternal learner\u201d M\u00e3e Stella de Ox\u00f3ssi<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/main>\n\t\t

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To learn more about African philosophy and the goddess Maat<\/h2>\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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TEAM<\/h2>\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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Danielle Valentim<\/h3>\t\t\t\t<\/div>\n\t\t\t\t
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Founding partner of Maat, working as a screenwriter, director, and producer<\/h4>\t\t\t\t<\/div>\n\t\t\t\t
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Danielle creates films that provoke reflection and bring forgotten stories back to life.<\/strong><\/p>

She believes in the power of audiovisual media as a tool for memory, questioning, and transformation. Her focus is on Black, female, and hybrid narratives\u2014which combine research, art, and politics.<\/span><\/p>

Danielle has a master's degree in Arts and Communication Sciences from the University of Oldenburg (Germany). She began her professional career at broadcasters such as TVU (Recife) and the German channel NDR. Since 2020, she has been working as a director, screenwriter, and executive producer on award-winning projects.<\/span><\/p>

Valentim directed the experimental short film Carta ao Mar (Letter to the Sea, 2020) and the series Pretas da Hist\u00f3ria (Black Women in History, 2023), broadcasted on public TV in Pernambuco, and Hist\u00f3ria de Preta (Black Women's History, 2024), whose pilot episode was aired on Rede Globo Nordeste. Her projects have been featured in labs such as Fiaban - Lab Negras Narrativas, Gira de Projetos Z\u00f3zimo Bulbul, FeraLab, Marieta, and DOCSP.<\/span><\/p>

In 2024, she was selected for the Black Brazil Unspoken (Warner Bros. Discovery) and LANANI (Rede Globo) acceleration programs.<\/span><\/p>

Danielle has dedicated herself to the production of documentary and hybrid films that delve into themes such as ancestry, memory, and identity\u2014always with the intention of touching hearts through art.<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Ana Cec\u00edlia Drumond<\/h3>\t\t\t\t<\/div>\n\t\t\t\t
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Costume Designer <\/h4>\t\t\t\t<\/div>\n\t\t\t\t
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Ana Cec\u00edlia Drumond is a costume designer. She is the editor of the book \u201cCinema Clothing: costume design in Pernambuco's audiovisual industry\u201d (Roupa de Cinema: o design de figurino no audiovisual pernambucano) in 2021, which presents a broad overview of filmmaking from the perspective of costume design. She designed the costumes for the feature films Lead Lovers (Amores de Chumbo), 2017 and Canvas Heart (Cora\u00e7\u00e3o de Lona) in post-production, both by director Tuca Siqueira, and the short films Twelfth (D\u00e9cimo segundo) by Leonardo Lacca, 2007, N\u00ba 27 by Marcelo Lordello, 2008, Under the skin (Sob a pele) by Daniel Bandeira and Pedro Sotero, 2013, and Natural history (Hist\u00f3ria natural) by J\u00falio Cavani, 2014, as well as Wall (Muro) by Ti\u00e3o, 2008, winner of the Regard Neuf award at the Directors' Fortnight at the Cannes Film Festival. Ana Cec\u00edlia worked as an assistant on the feature films The surrounding sound (O som ao redor) by Kleber Mendon\u00e7a Filho, 2012, Neon Bull (Boi neon) by Gabriel Mascaro, 2015, and The country of desire (O pa\u00eds do desejo) by Paulo Caldas, 2012. In the audiovisual market, she is responsible for the costumes for the series Police chief (Delegado) by Leonardo Lacca and Marcelo Lordello, (currently in post-production) and the fictional TV movie I want to go (Eu quero ir) by Pablo Polo, 2024. In 2017, she studied costume design at EICTV, a Cuban film school. In 2024, she carried out the project Costume Design: dressing an idea from script to set (Figurino: vestir uma ideia do roteiro ao set), where she taught costume design workshops in five cities in Pernambuco.<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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PARTNERS<\/h2>\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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CONTACT US<\/h2>\t\t\t\t<\/div>\n\t\t\t\t
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