2020, 29min, Brazil and Portugal
2020, 29min, Brazil and Portugal
A chuva acalanta a dor
A chuva acalanta a dor
In the year 74 BC, Titus Lucretius Carus, a young man with bold ideas, tries to convince his friend Memio that moving to the city of Rome to study is a total waste of time. Years later, Lucretius returns from the capital. Trying to find a balance between his explanations of the natural world and his emotional experience of it, Lucretius lives a deep and troubled passion with his foreign wife, Isa.In this free adaptation of symbolist writer Marcel Schwob's short story Lucrèce, Poète, Lucretius is going through a crisis as he is unable to find a balance between his rational explanations of our world and his emotional experience of it. A mythopoeic film exploring human nature through juxtaposing contemporary society with ancient Rome, A chuva acalanta a dor is testament to Leonardo Mouramateus' ongoing exploration of new ways to approach narrative cinema. From https://iffr.com/en/2020/films/a-chuva-acalanta-a-dor
Production Company: AREOSA
Directed by: Leonardo Mouramateus
Produced by: Raquel Rolim Batista
Head of production: Maura Carneiro
Executive Producers: Maura Carneiro, Diogo Baldaia, Manuel Rocha Da Silva and Leonardo Mouramateus
Director of Photography: Manel Pinho Braga
Director’s Assistant: Helena Estrela
Director of Art: Laura Gama Martins and Taís Augusto
Sound Design: Marcelo Tavares
Sound Editor: António Porém Pires
Montage by: Laura Gama Martins and Leonardo Mouramateus
Cast: Mauro Soares, Isabél Zuaa, Sandra Hung, Filipa Matta, Daniel Pizamiglio e João Fiadeiro
Written by: Leonardo Mouramateus (a partir de conto de Marcel Schwob)
Original Soundtrack: Fernando Pereira Lopes
Chief Electrician: João Leão
Image assistants: Joana Silva Fernandes and João Leão
Color corretion: Rita Lamas
Production assistants: João Tenera and Clara Jost
Credits: Artem Zaytsev
Poster: Taís Augusto e Isabel Coelho
English subtitles: Mauro Soares
Sales: Portugal Film [www.portugalfilm.org]
IFFR 2020 (Rotterdam)
Viennale 2020 (Áustria)
Indielisboa 2020 (Portugal)
Curtocircuíto – International Film Festival (Espanha)
Montreal Festival du Nouveau Cinema (Canadá)
Athens Avant-Garde Film Festival (Grécia)
Cámara Lúcida Festival de Cine (Equador)
Foto: Aline Belfort
Leonardo MOURAMATEUS (1991, Brazil) is a screenwriter and director of multiple award-winning short films, including Mauro em Caiena (2013) and A festa e os cães (2015). Both titles won Best Short Film at the Cinéma du Réel film festival. His work is exhibited in museums such as Centre Pompidou in Paris and the Museum of Art in São Paulo. Mouramateus graduated in Cinema and Audiovisuals from the Federal University of Ceará, has an MFA in Art and Multimedia from the University of Lisbon, and has maintained permanent contact with the performing arts and dance dramaturgy. In 2015, the Cinémathèque française presented a retrospective of his work. Mouramateus is a partner of the production company Praia à Noite. António Um Dois Três (2017) was his feature film debut. In 2020, IFFR has a Deep Focus Short Profile on his work and A chuva acalanta a dor will have its world premiere in the Ammodo Tiger Short Competition.
Fui à Guerra e não te Chamei - (2010, 20min)
Europa - (2011, 20min)
Charizard - (2012, 15min)
Mauro em Caiena / Mauro in Cayenne - (2012, 19min)
Lição de Esqui / Ski Lessons - (2013, 23min)
A Era de Ouro / The Golden Era - (2014, 20min)
O Completo Estranho / Two in the Shadow - (2014, 25min)
A Festa e os Cães / The Party and the Barking - (2015, 25min)
História de uma Pena / Story of a Feather - (2015, 30min)
Vando Vulgo Vedita / Vando aka Vedita - (2017, 20min)
António Um Dois Três / António One Two Three - (2017, 96min)
Lucretius: Of the nature of things
Ah! miserable minds of men, blind hearts!
In what darkness of life, in what great dangers ye spend
this little span of years! To think that ye should not see that nature
cries aloud for nothing else
but that pain may be kept far sundered from the body and that,
withdrawn from care and fear, she may enjoy in mind the sense of pleasure!
And so we see that for the body’s nature but few things at all are needful,
even such as can take away pain.
Yea, though pleasantly enough from time to time
”On the nature of things" (De rerum natura) is a poem written in the first century BC. In the six books that make up the poem, Tito Lucretius Caro articulates various ideas, many of which anticipate modern theories, such as the materiality of light, or the existence of parallel universes. Influenced by Democritus and Epicurus, Lucretius explains, in a way that is easy to understand, that everything that exists is made of tiny particles. And that such substances, atoms, are eternal. With this, he tries to take away the fear of the gods (taking from them the responsibility for the creation of everything), and of death (since both the soul and the body, after death, return to the land from which they came) from men.
Inspired by the poem, and by the legend that it was written between fits of madness, the French writer Marcel Schwob composed a biography in the form of a tale, largely imaginary, in which he describes the life of the young Roman poet. Instead of mythifying the figure of Lucretius, Schwob focuses on the emotional states of a boy, at the age of twenty and thirty, as he meets love for the first time. Marcel Schwob delves into the fictional universe freed from historical precision, and reveals the anxieties of his time, all the while lighting obscure moments in the biography of a classical poet. He ends up revealing Lucretius as our contemporary, either in the nineteenth century, when the tale was written, or now, in the twenty-first century, when we are reading it.
My first contact with Marcel Schwob's story came up in an impactful way. Endowed with a real urgency in relation to mortality and the beauty of the world, the words that are written there called me to transcribe these thoughts into images. Marcel Schwob's Lucretius is an ordinary boy invaded by the real fears of a human being who realizes for the first time that what he loves will one day perish, and, harassed by such a suggestion, he makes up his mind to go crazy and embrace love and death. Lucretius is a curious human being, confident in an aesthetic apprehension of the world, but disturbed by the experience of finitude. More than documental, the mysterious image of a Lucretius who drinks a magic formula and goes crazy is a metaphor of a human being in the deadlock between two types of existence: as a thinking being, afraid but oblivious to what surrounds him, or as a living being, full, an integral part of the whole. To paraphrase Kafka, in the confrontation between himself and the world, Lucretius chooses the world.
I came across Marcel Schwob's story one night in April 2018. I still feel the blow of that meeting. I never wanted to make any story into any sort of movie. If I've changed my mind it was because I wanted more people to hear what I was told.
This note, contained in a very small envelope, without postmark, is fragile and has been cut up into small pieces, some of which, folded, have over time broken in two. The fragments, comprising everything extant, have been pieced together.
i am in a world you make with recherches: and the leaf is suspended by a pin near the little wooden saint. these things mean very much to me; but i think it is not to my credit that they do. i am beginning to think that the reason i “give so much” is that i am so poor in spirit, hoping through leaning on every little gesture, thought, word, and mood of other to get my empty spaces filled. so my giving is really demanding. where shall i go and what shall i do: read a book? how to benefit by what can be said by oneself!
not being spontaneous and relaxed about natural things, i get ideas about people connected me lewith art, fashion little pedestals, love them and bring the public in. a rather disgusting scene.
i love you always.
xenia went all alone.
i am in a muddled state.
soul-searching; i did it once before, about 12 years ago. i’m not very good at it.
louis and satie at breakfast, what did that mean?
There is always a concept behind what I do, only montage doesn't always complete itself. Concepts hide in the subconscious. Zigzags that stun. When the chess works, the concept is formed by fittings, eliminating the exaggerated importance that could be given to certain more formal facts. These are not happy happenings because, from the beginning of a project, an idea already exists, only it is flexible and allows itself to be impregnated by the existence of the people photographed. What is interesting is to make the external matter vibrate in all its force so that it is a mirror of my intentions. Without ceasing to be a mirror of life. CORAÇÃO ESPELHO DA CARNE / HEART MIRROR OF THE FLESH
Rain hums a lull-a-bye to pain.
To downpours like quickly descending shutters
I sleep. Horses’ hooves on the quavering
Asphalt sound like the clapping of hands.
‘Congrats’ were said – and died out.
In gold-dawned having-been-left-ness
On the most fairy-tale of orphan-hoods
You, barracks, have taken mercy!
10 July 1922
Sapphires Under Cotton, 2013. Lynette Yiadom-Boakye. Collection SFMOMA.
Creating is an ongoing act of remembering. From the beginning, from the start, since forever, it is chance, the accident, that brings back that very high moment in which an invasion of eternity, emptiness, music, interdict, dominates us and completely absorbs us. Temporal and spatial sensations put into view a hidden reality beyond the visible world.
Imagination, fantasy... even a dream is a breath.
BRESSANE, Julio. Coleção Pequena Biblioteca de ensaios, p.46. Rio de Janeiro: Zazie Edições, 2018
READ THE BOOK.
WATCH AND LISTEN TO THE VIDEOCLIP OF “LICKING AND ORCHID”, BY YVES TUMOR (ft. James K), directed by Daniel Sannwald.
“Buenas noches córnea buenas noches
uñas negras buenas noches muñecas
buenas noches cuello mordido buenas
noches ano buenas noches nariz roja
de frío buenas noches estómago peludo
buenas noches líneas de la mano
buenas noches rodillas buenas noches
mandalas ocultos buenas noches verga
buenas noches hombros huesudos buenas
noches ombligo perfecto buenas noches
dientes buenas noches lóbulos
buenas noches fuego oblicuo de la
cintura buenas noches nu(n)ca.”
La Universidad Desconocida, Roberto Bolaño, pág. 143; Editorial Anagrama, Barcelona, 2007.
Photo Terre Thaemlitz
Crédito: Música: Name have been changed (Sprinkles’ House Arrest)”. Artista: Terre Thaemlitz / Dj Sprinkles. Álbum: Deproduction EP 1
“El 19 de agosto de 1942, Brecht pega en su cuaderno una imagen de campesinos ucranianos obligados a ser esclavos por el ocupante nazi; pero al lado escribe: ‘alrededor de la 1, como en la oficina los sándwiches que me he llevado y un trago de vino blanco californiano. hace calor, pero tenemos ventiladores.’ Justo antes -dos días antes-escribió esto: ‘la casa es muy linda. neste jardín puedo volver a leer a Lucrecio.’”
DIDI-HUBERMAN, Georges. Cuando las imágenes tomam posición, p.88. Traducción de Inés Bértolo. Madrid: A. Machado Libros, 2008
by Helena Estrela (2018, 18min, Portugal)
Viewer's Discretion - Not recommended to children under 12
Sinopsis: Through saline paths, hand in hand, two lovers wander. Whoever sees them feels afraid of the echoes from the past. A fervent summer atmosphere rises. A song from the tides faints and invades the beach.
Helena Estrela films ghosts making love.