Affonso Gonçalves

Affonso Gonçalves, born June 8, 1967, out of São Paulo, Brazil—this guy’s a bit of a legend behind the scenes, even if you wouldn’t spot him on the red carpet. He’s the sort who’s got a real knack for spotting the heartbeat of a story, then slicing and stitching it together till it pulses on the screen. You’ve probably watched his work without even realizing it, honestly. He’s the editing brain behind Carol (2015), that slow-burn romance that everyone pretended not to sob through, Paterson (2016)—yeah, the one with Adam Driver as a bus driver who writes poetry—and I’m Still Here (2024), which, let’s be real, is a total trip in its own right. Gonçalves doesn’t just cut movies; he shapes memories. There’s something about the way he paces a scene—takes his time when he needs to, then whips you along before you even know what hit you. Editors never get enough credit, but he’s one of those rare folks whose fingerprints you can almost feel in the rhythm of a film. Sao Paulo’s got a reputation for turning out creative types, but Affonso’s got his own flavor—mixing Brazilian vibes with that indie cinema edge. Not a household name, maybe, but ask anyone in the biz and they’ll nod with respect. His style? Unfussy, honest, sometimes poetic, never flashy for the sake of it. He’s one of those people who make movies quietly unforgettable.