Feature Film, 71 minutes - Brasil (2019)

Written and directed by: Igor Angelkorte, Julia Ariani, Paula Vilela

Distributed by: Olhar Filmes 

Fundo Setorial do Audiovisual FSA – Ancine (The Brazilian Film Agency) 2019.

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Festivals and Awards:

Audience Award and Honorable Mention on “Olhares Brasil” - Curitiba International Film Festival  2017.

21st Mostra de Cinema de Tiradentes 2018 – Mostra “Olhos Livres”.

21st Málaga Internacional Film Festival 2018 (Spain) – Sessão Oficial de Documentários.

17th Mostra do Filme Livre CCBB (São Paulo, Rio de Janeiro, Brasília) 2018.

1st Festival Ela Faz Cinema, Salvador, 2018.

7th Fricine – Friburgo – RJ, 2018.

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SYNOPSIS:

The film reveals the life of a 74-year-old teacher-artist in Brazil today. Fernando is provoked to interpret his own life, merging reality and fiction. Faced with a serious health problem, he follows a fulfilled routine of projects and desires in art.

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Press:

“Everything is staged, of course. And everything, too, is true. The option of presenting a life in some aspects proves to be correct. We see the character in his main activity, in his doubts about his health and the future, in his emotional relationship, talking about the work and the personal method he developed. And, finally, in a touching scene, with his companion assembling a mosaic of colors, a kind of game of glass pieces, to the sound of classical music and in semi-darkness. For my personal taste, this long sequence, perhaps seven or eight minutes without cuts, is the best synthesis of the character, the film and summarizes them, life and work. After all, what are we trying to do with our lives other than putting together a set of pieces, preferably in the company of a loved one, building a little piece of beauty in this formless and insane world? If someone demands a better metaphor for the "meaning" of life, let them do it. This is enough for me.”

LUIZ ZANIN, Estadão.

 

“Due to the poetic freedom of the project, the viewer will not find on-camera statements, off-screen narrations, explanatory signs or other traditional resources to guide the narrative. Fernando is articulated through long sequence shots, some of them in a static camera, allowing the character to express himself freely in association with people and activities that are important to him. The editing knows how to measure the time of contemplation with the exact moment of each cut, each ellipse. The precision of the scenes and the articulation of ideas work perfectly, stitching together content that, without a steady hand, could seem too vague.”

BRUNO CARMELO, Adoro Cinema.

 

“Every time the camera of filmmakers Igor Angelkorte, Julia Ariani and Paula Vilela focuses on the protagonist, it is to highlight some important issue, arising from their interactions or from mere everyday observations. It is necessary not to be dazzled by the possibilities offered by someone like Fernando, and the filmmakers know exactly how to take advantage of his manifestations, making them small pieces of a whole designed with leisure and skill. Fernando is a sensitive documentary that approaches its protagonist with reverence and zeal.”

MARCELO MÜLLER, Papo de Cinema.