Lia Leticia
Lia Leticia
2021, 15min, PE
Lia Leticia
2021, 15min, PE
PER CAPITA
PER CAPITA
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How to awaken numb people who had everything, who had bought all the dreams that money can buy and knew it had been a bargain? |
Production Company: Rosa Melo Produções Artisticas
Directed by: Lia Leticia
Produced by: Adah Lisboa
Executive Producer: Rosa Melo
Director of Photography: Pablo Nóbrega
Director of Art: Ariana Nuala
Som: Nicolau Domingues
Montage by: Karen Black
Cast: Paula de Renor, Tom Alvim, Yuri de Holanda and Mekson Dias
Written by: Lia Leticia
Narrated by: Lorena Martins
ARTIST'S BIOGRAPHY
ARTIST'S BIOGRAPHY
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Lia Letícia thinks her work from an expanded field of art, in the tension between artistic practices and their alleged autonomy. The construction and conflicts arising from this reflection engender her works. The visual artist was born in Viamão / RS, moved to Olinda / PE at the end of the 90's, and explores painting in various media, including the audiovisual, and investigates the relationships between this and performance. In addition to writing and directing her own films, she works as an art director. Her work transitions between film festivals and art exhibitions, and she multiplies this experience through actions such as Cinecão or as an educational artist in audiovisual experimentation projects, such as Escola Engenho. She also collaborates as a director and editor on works by visual artists, collectively coordinates projects of the Maumau Gallery, and is part of the CARNI - collective of black and Indigenous Art. |
 - Credito Felix Oliveira - Per Capita_2.jpg)
Photo: Felix OliveiraFILMOGRAPHY
Meia Dúzia de Maças - Lia Leticia, Paulo do Amparo e Fernando Peres (2002, 8min)
Shhh! - Fernando Peres e Lia Leticia (2004, 4min)
Caminhada contra a ideia de progresso - (2006, 5min)
O Cotidiano do Ovo de Codorna - (2007, 11min)
Netuno NOturno - (2008, 8min)
Orwo Foma - Lia Leticia e Karen Black (2012, 3min)
Encantada - (2013, 11min)
Golpista desde sempre - (2016, 11min)
Terra não Dita, Mar não Visto - (2017, 13min)
Thinya - (2019, 15min)
De Todos os lugares, o mundo - (2020, 5min)
Feliz Navegantes - (2021, 6min)
Entrevista com Lia Letícia
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PRESENTATION: "how to awaken numb people who had everything, who had bought all the dreams that money can buy and knew it had been a bargain? (...) Violence, which man doesn't like it? J,C. Ballard. In: O Reino do Amanhã. Companhia das Letras, 2009.
Since its emergence, the Car has been one of the greatest symbols and the apotheosis of consumption, synthesizing the contradictions of the machine age. Through the entangled streets, avenues, and highways of today circulates a nervous civilization, whose mark is the individual in motion and speed. In this video art, the consequences of this obsession are represented by desire, boredom, and violence.
Highways, young offenders and a middle-aged woman are visually fused, forming an alternative axis to the classic audiovisual narrative. Here, the images are the narrative link, where textures printed in digital and film suggest temporal, spatial and psychological changes of the characters. PER CAPITA is a visual reflection on the psychological impact of the consumer society on the individual.
The narrative of PER CAPITA is permeated by these counterpoints between the digital and the analog camera, between editing images in a software and chemical experiments; in terms of narrative perception the interactions concretized through direct intervention in the images suggest parallel times. Thus, the film proposes alternative readings for the subjectivity of the characters, so that they are understood through technical experimentation in the image. It is through the image that the narrative, temporal, and spatial link between the events, the characters, and the viewer is created in a script without dialogue.
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Images search
Storyboard - PER CAPITA
REFERENCES
REFERENCES
“Videoação” recording Flux - Porto Alegre, 2010
The project began with the coexistence of a few days shooting traffic. I shot these images in each city (Porto Alegre, Brasilia, and Garanhuns), and edited them into a video. Later, I would project it in some street of each city, then I would film this projection and again edit it in a video, which is the final “product” of this work.
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NÃO HÁ VAGAS, by Lia Leticia in collaboration with Rochelle Zandavalli, Paula Plim, Virginia Simone, Matheus Walter and Guto Conde
Branco sobre Branco, Kazimir Malevich
Ambientes Instalativos, by Nam June Paik
Justification: Performances linked to Industrial society, the body in front of the machines. Works of extreme exposure to the consequences of the relationship with machines, speed, iron, and neighboring conditions
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Terroristas do Milenio, J.G. Ballard
Justification: the work of J. C. Ballard, who speaks of a bored middle class who finds a source of expression and emotion in violence.
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Lost Highway (1997), by David Lynch
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A Clockwork Orange (1971), by Stanley Kubrick
Justification: English suburban middle-class universe, middle-class boredom, the psychological consequences of capitalist and consumer society on people. The choreography of violence.
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São Paulo Sociedade Anônima (1965), by Luís Sérgio Person
Justificatication: the “absurd man” thing
SOUND REFERENCES
Edgar at Programa Cultura Livre
Video clipe NO CHURCH IN THE WILD, by JAY-Z and KANYE WEST. Dirigido por ROMAIN GAVRAS
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OUTROS MATERIAIS DA ARTISTA
Text by the artist Eloir Jr, about the artist Lia Letícia from Porto Alegre
GUEST WORK
GUEST WORK
Em Trânsito
by Marcelo Pedroso (2013, 17min, PE)
Viewer's Discretion - Not recommended for children under 10 years
Sinopsis: Elias in transit
JUSTIFICATION
I developed Per Capita in 2013. At that time, I was still trying to write the script in a more classic language of fiction. Despite several visual interventions, performances, and other elements linked to the visual arts, I was still trying at the moment to create dialogues and situations for the scenes. In a screening session at the Semana dos Realizadores, I watched Em Transito, and was in shock with several simiarities that were solved in a much superior visual way to the script I was trying to finish. I put it aside while writing "FLUX" and "Não ha Vagas"... And resumed it by deleting all dialogues or anything that resembled a linear narrative... I always tell Marcelo that this change arose from that screening. Marcelo was one of the first to see Per Capita while I was still editing it, and since then we have been working together. It came up!