“Catarina is a quantum physics researcher. She studies the sound spaces hidden in the variations of light. By immersing herself in the images she distorts, Catarina discovers a new form of sound spectrum, which seems to give her access to another temporality.”
Fendas affords itself the luxury of humour, and mixes it shamelessly with seriousness and elegance, guiding us down a slope where surprises succeed one another – in the gentlest possible way.
Hello Carlos many thanks for talking to TNC, how are you doing?
I’m really fine, and a little bit anxious. It is my first experience in that situation. To me, it is a special moment.
Are you looking forward to be bringing Slits to FID 2019?
Evidently. In such a special way.
This will be your World Premiere & Slits is part of the French Competition, does this add any extra pressure on you?
This is also my premiere directing a feature film. So, it is all new to me.
In another way, I love this film so much. It is simple and free of creation. Therefore, I think my anxiety involve my will to see it on a big screen with peoples around. I don't think to have the extra pressure on it. It is only the way how emotions flow.
Do you still get nerves ahead of your screening?
Of course, I do. That is the best part of this party, doesn't it? I always try to make a film that satisfies me first. But I really desire it touches someone else. Anyway...I love putting myself at risk. That why I don't like the classical cinema, with pre-established formulas and recipes.
How would you describe your visual style?
It is really difficult to describe a personal visual style. Especially when you are constantly looking for and researching different ways to create.
What I know, for sure, is what I don't like. I'm not interested to tell histories only. I believe that cinema can give us more than good histories. Cinema can provide us with a different and special life dimension. It can give us a new perspective of time and space also. Cinema proves me that is allowed to reinvent our process to be alive.
Cinema, truly, change completely my way to see and carry my life. It is impossible to be the same, pass unharmed by Angelopoulos, Tarkoviski, Kieślowski, Tsai Ming Liang, Abbas Kiarostami, an so on... It is impossible... So, I don't really know describe my visual style, but I know all these things are mixed in it.
"I hope the audience, in a particular way, can find themselves in some hidden corner of it."
Can you tell me a little bit about Slits what can we expect?
Fendas is a simple film with a potent concept. It is not about Catarina only. It is about me and you, about life and our inability to grasp reality. It is about transformation and movement. I hope it finds some attentive eyes.
What was the inspiration behind this film?
I really don't know, many, maybe. I always start work on my films from an image [sonorous or visual]. After that, I begin to search for ways and perspectives that are around this image. Fendas arises with this image, one woman shouting towards the sea. All other things come afterward. If I have some image, I allowed myself to create and invent everything I want. So, I trust in my intuition and leave it goes.
How have you managed to blend the seriousness of this film with such elegance, humour and love?
Thank you. I didn’t realize I have done it properly.
What was the most challenging part of bringing this film to life?
Structure. Fendas is a low budget film at all. In Brazil, especially at this moment, work with cinema [art in general] is a political act. This actual government is destroying all things that involve art, education, and culture.
We never thought we could fall back like that. So, we film only because it is necessary. Because we must keep alive and resistant.
How important is the collaborative nature in filmmaking for you?
It is very important. In films as this one, how we use to say, "film d'auteur", made usually without a large budget, the collaborative work is the core of independent films.
How different is this film to your previous works?
As I said before, I don't have any interest in classical cinema, with those rules. So, each film is a new film, with a particular characteristic. If there is something that approaches my films, I think it is the rhythms of the "mise-en-scène" and the absence, all information absent in the film. I love the instability and to give to the audience their possibility to complete and get in and penetrate the slits of the film.
Has your style and approach to your film changed much since your debut film?
Considerably. If there isn't a classical historie or plot to guide, we can change and move the elements all the time, even on the set, when we are filming. And I fill quite comfortable with that. Actually, this process is important to me. Put the film in constant movement
Have you always had a passion for filmmaking?
Not really. I came from a poor family. Cinema was nothing to me when I was young. In fact, I discovered the cinema when I was 25, 26 years old. It comes a bit late, but comes like a storm. And still raining a lot in my champ.
Looking back is there anything you would like to do differently or change?
If you are talking about the film, yes…One film never ends, we have to abandon it. Anyway, this one has already gone. And new others are coming.
Do you have any advice for any emerging filmmaker?
No, no…I’m so young for that. I’m an emerging filmmaker too.
And finally, what do you hope people will take away from this film?
Fendas is a very opened film. An experience that gives us many doors and windows. I hope the audience, in a particular way, can find themselves in some hidden corner of it.