tag:blogger.com,1999:blog-7305955757686490502024-03-04T22:09:05.590-08:00T a c t i l e T h o u g h t s - Volume IIn parallel to his prolific career as a filmmaker, João Paulo Simões edited and wrote the Filmreel section of Now Then Magazine between 2009 and 2015. Here you can find a selection of those articles - unabridged and as uncompromising as his Cinema.Unknownnoreply@blogger.comBlogger1125tag:blogger.com,1999:blog-730595575768649050.post-32804501024898826012015-03-20T05:08:00.000-07:002015-03-26T09:28:08.434-07:00<!--[if gte mso 9]><xml>
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</xml><![endif]--><span lang="EN-GB" style="mso-no-proof: no;">FILM
ARCHITECTURES</span><br />
<div class="MsoNoSpacing">
<span lang="EN-GB" style="mso-no-proof: no;"><span style="font-size: xx-small;">- Originally published in Now Then, Issue#44, November 2011;</span> </span></div>
<div class="MsoNoSpacing">
<br />
<br /></div>
<div class="MsoNoSpacing">
<span lang="EN-GB" style="mso-no-proof: no;">The second stage
of structuring the narrative of a film is to build upon and around the
psychological foundations of each scene.</span></div>
<div class="MsoNoSpacing">
<span lang="EN-GB" style="mso-no-proof: no;">I realise I
could be quoting at least two of the architects of Cinema I most admire and
that have so influenced my work: Michelangelo Antonioni or Andrei Tarkovsky.
Yet, this is the best I can do in putting into words what I’ve always,
instinctively, implemented in my own output.</span></div>
<div class="MsoNoSpacing">
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1W0stiTezBRWvMCEpda5pifJ9wKlWtLQ2b4H_cjZCLbOuUYF35SCQSekx_7YiVzyylaDnp_ltyn-cDksKucx37op3utvzxQAlTij-a-LQ6JNxj04f7Y_TEux9ElXRIv7anJpBf5fDEf4/s1600/the-monastery-of-sainte-mar.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1W0stiTezBRWvMCEpda5pifJ9wKlWtLQ2b4H_cjZCLbOuUYF35SCQSekx_7YiVzyylaDnp_ltyn-cDksKucx37op3utvzxQAlTij-a-LQ6JNxj04f7Y_TEux9ElXRIv7anJpBf5fDEf4/s1600/the-monastery-of-sainte-mar.jpg" height="200" width="156" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The Monastery of Sainte-Marie de La Tourette by Le Corbusier (1953) <br />
Photograph by Hélène Binet, Eveux, France (2007)</td></tr>
</tbody></table>
<span lang="EN-GB" style="mso-no-proof: no;">Architecture is
one of my main passions outside film. Whilst I strive to attain the same
rigorous simplicity that, for example, Le Corbusier displayed in all his
designs (which elevated common materials from the level of mere functionality
onto something altogether more transcendental), my opening sentence does not
just relate to form.</span></div>
<div class="MsoNoSpacing">
<span lang="EN-GB" style="mso-no-proof: no;">Once the
narrative is outlined, with its core fundamental sections in place, there comes
the need to locate those fragments of time, those shreds of mood and atmosphere
in space. This should never just abide to stylistic choices or need to display
production values. The space in which the action takes place has to emphasise a
variety of filmic aspects which, in my practice, are invariably pursued with the
following hierarchy:</span></div>
<div class="MsoNoSpacing">
<span lang="EN-GB" style="mso-no-proof: no;">Character –
ideally, the most crucial scenes display a coherence between space or
surroundings and the psychological/emotional state of the character; his/her
background may also have an influence, alongside personal aspirations, inner
doubts and desires (repressed or otherwise); </span></div>
<div class="MsoNoSpacing">
<span lang="EN-GB" style="mso-no-proof: no;">Architecture
itself – that remarkable imprint we leave behind, conjured up by necessity or
sheer need to master the various elements in Nature, can overwhelm (and
override) nearly everything else, at times; with that, goes a sense of
contemplation – an appreciation of geometrical harmony or a very specific gaze
upon the unintentional/previously unnoticed correlation (if not conflict) between
certain lines or details;</span></div>
<div class="MsoNoSpacing">
<span lang="EN-GB" style="mso-no-proof: no;">Story/Plot – the
way the above are employed is, in effect, more respectful towards the narrative
than conventional filmmaking would let you know; the use of space and
architecture within such parameters guides you more profoundly through the
story than you would consider; it can do so in a subtle manner (or not), but
it’s always aiding the plot to progress, one way or another; in other words, it
may not be what you expect or particularly think to be vital, but it is what
you will need, in order to fully appreciate what is unfolding before you;</span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3nx1_NlGr7Cyb8ofuUzjhtM9iw_avLPm9n-JYy2VSS-28FymysD4oLMcZq8uz7KvvWy6zrURJxK1nRm7CHdaZLhiQr67XN-5oo1Snmp_IoZ7TpyxtXqJdZEAlShH6sf_CJtmNm2nAHsI/s1600/Aus%C3%AAncias+de+Esp%C3%ADrito_04.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3nx1_NlGr7Cyb8ofuUzjhtM9iw_avLPm9n-JYy2VSS-28FymysD4oLMcZq8uz7KvvWy6zrURJxK1nRm7CHdaZLhiQr67XN-5oo1Snmp_IoZ7TpyxtXqJdZEAlShH6sf_CJtmNm2nAHsI/s1600/Aus%C3%AAncias+de+Esp%C3%ADrito_04.jpg" height="85" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Ausências de Espírito (Absences of Mind, 2005)</td><td class="tr-caption" style="text-align: center;"><br /></td></tr>
</tbody></table>
<span lang="EN-GB" style="mso-no-proof: no;">I’ve always been
extremely sensitive to the mood of places. Certain sites have had the most
powerful, lingering impact in my being and often I have felt a very physical
response to what is mostly an ethereal residue of a building’s history or past
function.</span></div>
<div class="MsoNoSpacing">
<span lang="EN-GB" style="mso-no-proof: no;">By now, I have
mastered the ability to weave mood into a given space or sculpt the right
atmosphere onto the façade of a building, but to come across it in ways that
are beyond my control (that are inherent, regardless of where I position or
turn the camera onto), is as thrilling as casting the right person for a part.</span></div>
<div class="MsoNoSpacing">
<span lang="EN-GB" style="mso-no-proof: no;">Certain cities
are abundant with such spaces. You find it in their neglected corners, in the
way once innovative (but now traditional) buildings can still stand proud in
the face of baffling planning permissions around or within them... The
suburban, the periphery, the northern city which speaks of quiet resentment in
a country that may favour the more international capital... They all fascinate
and inspire me as potential settings for the right tale.</span></div>
<div class="MsoNoSpacing">
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisaAn7dtT2XofJt2YTDMq4JBzg3jVvxYQtrj3dTMdyZuVrwyEHRuXuzWmjN00DYZhL079n2vO2LesTKUMAAw_t5oOUkDm0QzsvJMImyHjNy38zxTGLFUa6K9SkyvxyDcaP8WKD0grGM8M/s1600/Aus%C3%AAncias+de+Esp%C3%ADrito_05.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisaAn7dtT2XofJt2YTDMq4JBzg3jVvxYQtrj3dTMdyZuVrwyEHRuXuzWmjN00DYZhL079n2vO2LesTKUMAAw_t5oOUkDm0QzsvJMImyHjNy38zxTGLFUa6K9SkyvxyDcaP8WKD0grGM8M/s1600/Aus%C3%AAncias+de+Esp%C3%ADrito_05.jpg" height="170" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Ausências de Espírito (Absences of Mind, 2005)</td></tr>
</tbody></table>
<span lang="EN-GB" style="mso-no-proof: no;">Yet, more than
once, I have had the privilege of filming in three major European cities that
enriched the projects in question to unexpected levels of cinematic flare.
These were Barcelona, Rome and Lisbon.</span></div>
<div class="MsoNoSpacing">
<span lang="EN-GB" style="mso-no-proof: no;">The films I have
made in these cities, between 2003 and 2008, display key-moments in which
everything that I have so far outlined in this article was eventually distilled
and implemented.</span></div>
<div class="MsoNoSpacing">
<span lang="EN-GB" style="mso-no-proof: no;">The examples go
as such:</span></div>
<div class="MsoNoSpacing">
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmqBqK4KB2A_xOs3StbXMjsD4LIScq-m0oxH_nPWQL-honwTgjPZMWtgNe4szoygyTjOJh7gc3ae4NOUQ6CUKI230ah2xrmYrXZ6yA-WKJp5f08WjSFKLLWgz9n7DiVX7QzmRoZP2zk2k/s1600/Torpor+Revisitado_Ana+Fale+Barcelona.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmqBqK4KB2A_xOs3StbXMjsD4LIScq-m0oxH_nPWQL-honwTgjPZMWtgNe4szoygyTjOJh7gc3ae4NOUQ6CUKI230ah2xrmYrXZ6yA-WKJp5f08WjSFKLLWgz9n7DiVX7QzmRoZP2zk2k/s1600/Torpor+Revisitado_Ana+Fale+Barcelona.jpg" height="200" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Torpor Revisitado (Torpor Revisited, 2015)</td></tr>
</tbody></table>
<span lang="EN-GB" style="mso-no-proof: no;">In Torpor
Revisited, a character who has found a renewed harmony in her life spots a face
from her troubled past in the crowd; this is something that brings into
question her present existence and as she revisits the area of that sighting,
the Gothic quarters of Barcelona provide the right sinuous journey back in time;
the graffiti ‘tattooed’ on the old surrounding walls evoke her once moral
decline, whilst the CCTV cameras pierced into historical corners point not just
in the possible voyeuristic directions that the plot may take, but the actual
trajectories that such unexpected figure takes, in recollection;</span></div>
<div class="MsoNoSpacing">
<span lang="EN-GB" style="mso-no-proof: no;">In Stolen Waters
& Other Absences, the former lover of a deceased poet starts by overlooking
Rome, the backdrop of their affair, from the vantage point of Villa Borghese,
where she herself appears to be scrutinised by the accusing gaze of various
sculpted busts that include the painter Giotto and the poet Dante Alighieri; as
she descends into the city, a stroll around the Trastevere, with its
architectural punctuations of the religious/funereal kind gives way to the
voluptuous seclusion of Quartiere Coppedè; <span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNoSpacing">
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnxDI5WMf0h5ECNZsk3kv93ZgH2ak5V4rIbg8eoUWnG3tGMTlK6X0K9BrXt4nUfMU1DUmM81DJAcUlmxxvTxol5Y0vyI9gnuW-WEQ2OigxZ6nGgFYHijMRktjthoOZMZG4oy-sTa9HaSg/s1600/Absences+of+Mind_Facebook.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnxDI5WMf0h5ECNZsk3kv93ZgH2ak5V4rIbg8eoUWnG3tGMTlK6X0K9BrXt4nUfMU1DUmM81DJAcUlmxxvTxol5Y0vyI9gnuW-WEQ2OigxZ6nGgFYHijMRktjthoOZMZG4oy-sTa9HaSg/s1600/Absences+of+Mind_Facebook.jpg" height="85" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Ausências de Espírito (Absences of Mind, 2005)</td></tr>
</tbody></table>
<span lang="EN-GB" style="mso-no-proof: no;">And in Absences
of Mind (the film that precedes Stolen Waters in the unfinished Trilogy), a reclusive
lesbian writer with a terminal disease gives herself to a moment of private
exploration of her body – an intimate, lugubrious act which brings evocative,
sunlit architectural details in sudden flashes that underline her progressively
altered state; such details include the ceremonial shot of the rosary façade of
a church and the emphasis on the phallic quality of an old chimney from
derelict lime ovens, but they are entirely open to interpretation; it’s only
when the writer’s immersion in herself is complete (by means of a slow fade to
black) that we see the male (who’d been kept out of the equation) emerging and
ascending up old steps which, in turn, offer a privileged view of Lisbon - the
city of spies and intellectual exiles.</span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span lang="EN-GB" style="mso-no-proof: no;">If this was to
be just about location, anyone with enough time and taste could make a film.</span></div>
<div class="MsoNoSpacing">
<span lang="EN-GB" style="mso-no-proof: no;">This is about
structuring the film language by means of paying attention to your
surroundings. </span></div>
<div class="MsoNoSpacing">
<span lang="EN-GB" style="mso-no-proof: no;">It’s about
understanding the essence of your material and setting the right foundations
that will prevent it from crumbling.</span></div>
<div class="MsoNoSpacing">
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitFSWzOmM0JvbOx6ZClh6cUv4B-atw4E-OCProoA2AyKbh44CpUoZw3lSxloQtUQQOUr3muZ5CMNa4tmDjvUuWWVPBdrAdmUk0_VAO45lTbyKirlE0BXEj5NRdrXKfHWfb_ykLoGMZMtw/s1600/leclisse-wasteland.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitFSWzOmM0JvbOx6ZClh6cUv4B-atw4E-OCProoA2AyKbh44CpUoZw3lSxloQtUQQOUr3muZ5CMNa4tmDjvUuWWVPBdrAdmUk0_VAO45lTbyKirlE0BXEj5NRdrXKfHWfb_ykLoGMZMtw/s1600/leclisse-wasteland.png" height="177" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">L'Eclisse (1962) by Michelangelo Antonioni</td></tr>
</tbody></table>
<span lang="EN-GB" style="mso-no-proof: no;">
</span><span lang="EN-GB" style="mso-no-proof: no;">It’s to
communicate with the right language, like the great, late Antonioni does in so
many of his films (which paradoxically have been defined as ‘works of sheer
incommunicability’). He does so, more strikingly than any other time, in the
end sequence of The Eclipse (1962) – where details of previously seen suburban
desolation are all masterfully edited together to rapidly culminate in the
titular eclipse. The fact that they also highlight the emotional/existential
crossroads in which the main character finds herself has to be acknowledged as
one of the greatest acts of respect and consideration for his audience that a
filmmaker ever gave.</span><br />
<br />
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</span><span lang="EN-GB" style="mso-no-proof: no;"><span lang="EN-GB">ON REALISM<span lang="EN-GB" style="mso-no-proof: no;"><span style="font-size: xx-small;"> </span></span></span></span><br />
<span lang="EN-GB" style="mso-no-proof: no;"><span lang="EN-GB"><span lang="EN-GB" style="mso-no-proof: no;"><span style="font-size: xx-small;">- Originally published in Now Then, Issue#51, June 2012;</span></span> </span></span><br />
<span lang="EN-GB" style="mso-no-proof: no;">
</span><span lang="EN-GB" style="mso-no-proof: no;">
</span>
<span lang="EN-GB" style="mso-no-proof: no;"><span lang="EN-GB"> </span></span><br />
<span lang="EN-GB" style="mso-no-proof: no;"><span lang="EN-GB">Realism in Film is overrated. This has
been my firm belief for quite some time. Since way before I started making
films, in fact. What started as a personal inclination, became a predilection
in the choice of films to watch and finally a cornerstone in the design of my
own fictional output.</span></span><br />
<span lang="EN-GB" style="mso-no-proof: no;">
</span>
<span lang="EN-GB" style="mso-no-proof: no;"><span lang="EN-GB">This is not to say that I favour
Fantasy, Horror or Sci-Fi over a good, solid flick featuring real human beings,
dealing with realistic issues within a recognisable world. I’m actually often
happy with minimalistic tales which present their content on a smaller scale –
so long, for instance, the implications to the characters are varied and the
mood is carefully crafted through the available cinematic devices.</span></span><br />
<span lang="EN-GB" style="mso-no-proof: no;">
</span>
<span lang="EN-GB" style="mso-no-proof: no;"><span lang="EN-GB">My point is that the tendency (of both
filmmakers and audiences) to judge a film by ‘real life’ standards is the most
limiting, narrow-minded approach I can think of.</span></span><br />
<span lang="EN-GB" style="mso-no-proof: no;">
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgz-TXIGN9x8AeZpDPDl-f_uyM5iLI3miK7aeb8XY0X2VLrFk5TPipxbt3TjTMwGRGcD7JDOdPqRQVwbU0WNyqV95Ec0Zus5XRWGGkoT3sLwGRkm3YxBGWlvT3cGV6ZTBe5cm4Ts3MfHG4/s1600/thelimey1.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgz-TXIGN9x8AeZpDPDl-f_uyM5iLI3miK7aeb8XY0X2VLrFk5TPipxbt3TjTMwGRGcD7JDOdPqRQVwbU0WNyqV95Ec0Zus5XRWGGkoT3sLwGRkm3YxBGWlvT3cGV6ZTBe5cm4Ts3MfHG4/s1600/thelimey1.png" height="180" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Terence Stamp in The Limey (1999) by Steven Soderbergh</td></tr>
</tbody></table>
<span lang="EN-GB">Every artform should claim the right to
expand itself; to enhance aspects of its own anatomy to deliver, at the very
least, a pleasurable challenge. To suppress cinematic techniques in favour of comfortable
realism in accordance with expectations is reductive, if not to say ridiculous.</span></span><span lang="EN-GB" style="mso-no-proof: no;">
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiG7C_n97wbcTn5jURVCVjGzvVNMQ_6dVTBMoybLRWVXE2CwKI5defihyzwiBY8Protew24wgUJTNYunx50kTqL35r-nWFTGQU86-My7_S8u3lYyp0DKhlqQJH1PPmL3CEjqlLJdJUYmco/s1600/Terence-Stamp-in-Poor-Cow-008.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiG7C_n97wbcTn5jURVCVjGzvVNMQ_6dVTBMoybLRWVXE2CwKI5defihyzwiBY8Protew24wgUJTNYunx50kTqL35r-nWFTGQU86-My7_S8u3lYyp0DKhlqQJH1PPmL3CEjqlLJdJUYmco/s1600/Terence-Stamp-in-Poor-Cow-008.jpg" height="120" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Terence Stamp in Poor Cow (1967) by Ken Loach</td></tr>
</tbody></table>
</span><span lang="EN-GB" style="mso-no-proof: no;"><span lang="EN-GB">The symptom becomes more acute if you
add the prefix Socio to the term Realism. There is something utterly
unimaginative about the way such trend developed and took shape.</span></span><br />
<span lang="EN-GB" style="mso-no-proof: no;">
</span>
<span lang="EN-GB" style="mso-no-proof: no;"><span lang="EN-GB">If, to begin with, an assertion of
national pride and identity may have had a place after a crippling World War
II, to continue to pursue an approach that is light-years from expressing the
full potential of the artform is plain vanity. The constant, ongoing
regurgitation of issues that highlight ‘who we are’ and ‘where we belong’ - without
elevating the form to greater levels of artistic expression - is a tedious
‘marking of territory’. </span></span><br />
<span lang="EN-GB" style="mso-no-proof: no;">
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVWhOSChj_zoQ9OL2oC_gQI3SWm6Rk0BxDTmrnP0VZcji7CKajD3R9fHkg7TAZsznQA7vPgZKl2jNYgWM7hhT5s1DNATYplZns26GwMxqlsy0xOyhx_poMk7viFd55k2sNmybXjMGUWME/s1600/teorema.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVWhOSChj_zoQ9OL2oC_gQI3SWm6Rk0BxDTmrnP0VZcji7CKajD3R9fHkg7TAZsznQA7vPgZKl2jNYgWM7hhT5s1DNATYplZns26GwMxqlsy0xOyhx_poMk7viFd55k2sNmybXjMGUWME/s1600/teorema.jpg" height="215" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Terence Stamp in Teorema (1968) by Pier Paolo Pasolini</td></tr>
</tbody></table>
<span lang="EN-GB">Those who abide to such a narrow
standard, blindingly defending the usual conventional view that ‘story comes
first’, should watch the work of Pier Paolo Pasolini (a true filmmaker who took
his first creative steps as a man of words before entering and redefining
Cinema). His use of real circumstances and non-actors in his fictional work
would humble any current practioners of Socio-Realism that may have a hint of
genuine film understanding in them.</span></span><span lang="EN-GB" style="mso-no-proof: no;">
</span>
<span lang="EN-GB" style="mso-no-proof: no;"><span lang="EN-GB">In essence, Pasolini understood that,
like poetry, the formulation of film is internal and not a reiteration of
established values and formulas in detriment of cinematic language.</span></span><br />
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<div class="MsoNoSpacing">
<span lang="EN-GB" style="mso-no-proof: no;"><span lang="EN-GB"><span lang="EN-GB" style="mso-no-proof: no;">ON (A) LOST HIGHWAY</span></span></span><br />
<span lang="EN-GB" style="mso-no-proof: no;"><span lang="EN-GB"><span lang="EN-GB" style="mso-no-proof: no;"><span lang="EN-GB"><span lang="EN-GB" style="mso-no-proof: no;"><span style="font-size: xx-small;">- Originally published in Now Then, Issue#68, November 2013;</span></span></span></span></span></span></div>
<span lang="EN-GB" style="mso-no-proof: no;"><span lang="EN-GB">
</span>
</span><br />
<span lang="EN-GB" style="mso-no-proof: no;"><span lang="EN-GB">
</span>
</span><br />
<div class="MsoNoSpacing">
<span lang="EN-GB" style="mso-no-proof: no;"><span lang="EN-GB"><span lang="EN-GB">Interpretations of David Lynch’s Lost Highway
continue to proliferate - like jackals forever digging into a carcass. Still,
whilst death remains at the core of this nocturnal journey, few other films
pulsate with such beautifully muted heartbeat. And, for all its ambiguity and
supernatural overtones, no other piece of Cinema quite manages to brush itself
against the fabric of reality like this 1997 masterpiece.</span></span></span></div>
<span lang="EN-GB" style="mso-no-proof: no;"><span lang="EN-GB">
</span>
</span><br />
<span lang="EN-GB" style="mso-no-proof: no;"><span lang="EN-GB">
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEie3kLI9TmQ90gobGhB8GNRWZGADnRsLYByVMUmXb_zXV2HcglEPVBcBPISmdv0sfJ388Q9gsDDM7qIWv3M-Di89rtmK06wHuAvMn9_voFvq6b2yEjG0K210oD-0CnDJkEqtll7Yzp98iw/s1600/imaginary_characters_6.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEie3kLI9TmQ90gobGhB8GNRWZGADnRsLYByVMUmXb_zXV2HcglEPVBcBPISmdv0sfJ388Q9gsDDM7qIWv3M-Di89rtmK06wHuAvMn9_voFvq6b2yEjG0K210oD-0CnDJkEqtll7Yzp98iw/s1600/imaginary_characters_6.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Robert Blake in Lost Highway (1997) by David Lynch</td></tr>
</tbody></table>
</span><span lang="EN-GB"><span lang="EN-GB">In the same way that the film embraces cinematic
conventions by crossing genres along the way, it also establishes a series of
archetypes that, to some extent, aid our perception of the characters.</span></span></span><br />
<span lang="EN-GB" style="mso-no-proof: no;"><span lang="EN-GB">
</span>
</span><br />
<div class="MsoNoSpacing">
<span lang="EN-GB" style="mso-no-proof: no;"><span lang="EN-GB"><span lang="EN-GB">But I would argue that to approach the
film from a strictly Jungian/Freudian perspective is to deny its major strengths.
Whilst those elements are undeniably there, Lost Highway expresses something
far more deep-seated: our primal discomfort in the face of the unknown.</span></span></span></div>
<span lang="EN-GB" style="mso-no-proof: no;"><span lang="EN-GB">
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_QbNZQ9ih-uwBzEkzmTRKzVs6ERAd2R2UY6k4PyFFnBci6ZD2q1nhAeoJpY0AurnIYU6pS2TMRv3c5ldzltbVKWz1SkItucf_OLQKXcFCC6R9Hc3LilR_k3mzyspPH9sQX0xktEuan80/s1600/4.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_QbNZQ9ih-uwBzEkzmTRKzVs6ERAd2R2UY6k4PyFFnBci6ZD2q1nhAeoJpY0AurnIYU6pS2TMRv3c5ldzltbVKWz1SkItucf_OLQKXcFCC6R9Hc3LilR_k3mzyspPH9sQX0xktEuan80/s1600/4.jpg" height="136" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Patricia Arquette <span lang="EN-GB" style="mso-no-proof: no;"><span lang="EN-GB">in Lost Highway (1997) by David Lynch</span></span></td></tr>
</tbody></table>
</span></span><br />
<div class="MsoNoSpacing">
<span lang="EN-GB" style="mso-no-proof: no;"><span lang="EN-GB"><span lang="EN-GB">Unashamedly masculine, the film employs
the figure of the woman – amidst that most paradigmatic stage that is a
marriage – as the ultimate source of anxiety, doubt and multi-layered depths.</span></span></span></div>
<span lang="EN-GB" style="mso-no-proof: no;"><span lang="EN-GB">
</span></span>
<br />
<div class="MsoNoSpacing">
<span lang="EN-GB" style="mso-no-proof: no;"><span lang="EN-GB"><span lang="EN-GB">The husband’s failure to penetrate her
mind is reflected in his impotence when attempting to possess her body – on which
he reads an indelibly inscribed sexual history. All ambiguity, external or
otherwise, flows from there and escalates to the point of the necessary scission
with (that) reality.</span></span></span></div>
<span lang="EN-GB" style="mso-no-proof: no;"><span lang="EN-GB"><span lang="EN-GB">And then there’s what’s undoubtedly the
most important, misconstrued and underrated aspect of it all: the filmmaking.</span></span></span><br />
<span lang="EN-GB" style="mso-no-proof: no;"><span lang="EN-GB">
</span></span>
<br />
<span lang="EN-GB" style="mso-no-proof: no;"><span lang="EN-GB">
</span></span>
<br />
<div class="MsoNoSpacing">
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2FskvsuRL_IT4JA2x43uhDxjb-v5n4x1nuCAifIG433zN1cYTmn92b32pzIxpEeKd3Y9WZt_U22B8reOgOC8E6aGXUvBqm8pOWVfbJ3M85k0SB5S2aZ8uZXQp9jeh13ny1XgcJ77hpUM/s1600/vlcsnap-000111.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2FskvsuRL_IT4JA2x43uhDxjb-v5n4x1nuCAifIG433zN1cYTmn92b32pzIxpEeKd3Y9WZt_U22B8reOgOC8E6aGXUvBqm8pOWVfbJ3M85k0SB5S2aZ8uZXQp9jeh13ny1XgcJ77hpUM/s1600/vlcsnap-000111.jpg" height="138" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span lang="EN-GB" style="mso-no-proof: no;"><span lang="EN-GB"><span lang="EN-GB" style="mso-no-proof: no;"><span lang="EN-GB">Bill Pullman in Lost Highway (1997) by David Lynch</span></span></span></span></td></tr>
</tbody></table>
<span lang="EN-GB" style="mso-no-proof: no;"><span lang="EN-GB"><span lang="EN-GB">For all its ambiguity of tone and
subjectivity of imagery, the first half of Lost Highway is perhaps the closest
to reality you will ever get on screen. Lynch understands perfectly that
Cinema, when distilled to its essence, is ‘the fixing of time’. So, what we
have in this film is something remarkable that goes beyond measured pace or
rich atmosphere. The household we’re invited to inhabit is filled with time
that is both psychologically internal and unrelentingly external.</span></span></span></div>
<span lang="EN-GB" style="mso-no-proof: no;"><span lang="EN-GB">
</span></span>
<br />
<div class="MsoNoSpacing">
<span lang="EN-GB" style="mso-no-proof: no;"><span lang="EN-GB"><span lang="EN-GB">In other words, it’s the way we experience
time in the real world. </span></span></span></div>
<span lang="EN-GB" style="mso-no-proof: no;"><span lang="EN-GB"><span lang="EN-GB">The paradox rests upon the fact that
cinemagoers expect a re-ordering of time; a sense of normality conveyed by the
illusion of some sort of realism - hence the vast majority of reactions to the
film being that of perplexity or repulsion.</span></span></span><br />
<span lang="EN-GB" style="mso-no-proof: no;"><span lang="EN-GB"><span lang="EN-GB">The nightmarish narrative content may
get in your way of grasping such notion, but I say: listen to silence that
permeates ‘your own time’.</span></span></span><br />
<span lang="EN-GB" style="mso-no-proof: no;"><span lang="EN-GB"><span lang="EN-GB">It may very well be as amplified as
Lynch’s...<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span></span></span></span><br />
<span lang="EN-GB" style="mso-no-proof: no;"><span lang="EN-GB">
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<div class="MsoNoSpacing">
<span lang="EN-GB" style="mso-no-proof: no;"><span lang="EN-GB"><span lang="EN-GB" style="mso-no-proof: no;">DJANGO UNCHAINED/A TRAVELOGUE<span style="font-size: xx-small;"> </span></span></span></span><br />
<span lang="EN-GB" style="mso-no-proof: no;"><span lang="EN-GB"><span lang="EN-GB" style="mso-no-proof: no;"><span style="font-size: xx-small;"> </span><span lang="EN-GB"><span lang="EN-GB" style="mso-no-proof: no;"><span lang="EN-GB"><span lang="EN-GB" style="mso-no-proof: no;"><span style="font-size: xx-small;">- Originally published in Now Then, Issue#59, February 2013;</span></span></span></span></span></span></span></span></div>
<span lang="EN-GB">
</span>
<br />
<span lang="EN-GB">
</span>
<br />
<div class="MsoNoSpacing">
<span lang="EN-GB"><span lang="EN-GB">‘Behold the oncoming night, black velvet
woven from a thousand shreds of skin pulled by whip, oh! Tore by whip, from the
back of our people, when slavery reigned...’</span></span></div>
<span lang="EN-GB">
</span>
<br />
<div class="MsoNoSpacing">
<span lang="EN-GB"><span lang="EN-GB">Thus wrote the late Angolan poet Maurício
de Almeida Gomes, more than sixty years ago. He did so with both clarity and an
understanding of how the historical condition of an entire race can be carried
through subsequent and future decades. Despite being a high-achiever in every
sense, he understood and experienced this social branding in the flesh – for
the blood of slaves almost certainly ran through his veins. Maurício de Almeida
Gomes is my grandfather.</span></span></div>
<span lang="EN-GB"><span lang="EN-GB">I think of him as I watch Django
Unchained, Quentin Tarantino’s brutal Western parable set against the backdrop
of slavery.</span></span><br />
<br />
<span lang="EN-GB">
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4ylxN7CvTwKuMFCEX6pJEdB0JpdlVsAM99OMHABvb4GmdAmGQ0mntwBiLSt5XlWpkmWYmhSQQi9YsuLDVeEvfrErHw5kCIwNuE5Swznh49CcJeyT4qBim1JMU-M524qPbyN5tthZVsm4/s1600/whipping-2-django.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4ylxN7CvTwKuMFCEX6pJEdB0JpdlVsAM99OMHABvb4GmdAmGQ0mntwBiLSt5XlWpkmWYmhSQQi9YsuLDVeEvfrErHw5kCIwNuE5Swznh49CcJeyT4qBim1JMU-M524qPbyN5tthZVsm4/s1600/whipping-2-django.jpg" height="166" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Jamie Foxx in Django Unchained (2013) by Quentin Tarantino</td></tr>
</tbody></table>
</span><br />
<div class="MsoNoSpacing">
<span lang="EN-GB"><span lang="EN-GB">Everything that you’re forced to be made
aware about this film, be it hype or controversy, is set aside once the film
starts. It’s an artistic interpretation of a specific period of History. And
it’s as much infused with Tarantino’s trademark reverence of (and reference to)
sub-genres of Cinema, as it is with his passion for language. In the majority
of his films, a foreign language when spoken becomes a subterfuge for hidden
motivations and it’s often used to underline the ignorance characters share of
each other’s culture. This is more than apparent in Django Unchained. When the
subtitles kick in, the plot moves forward quicker than ever.</span></span></div>
<span lang="EN-GB">
</span>
<br />
<div class="MsoNoSpacing">
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwPfuls1OIuMKO1GUUDzaB-NYycMtKVV85r20v0CfeI846-iOn2V2rOdI6DSG9UdxDl7yqAH53FiZPYLU7NaIRAfBluV0dq5uS7H3qb9Kb-pnfUpp9ZfoV1LpdO2FRFNm4Nva0E6MHKJc/s1600/705685_2637549875213_1833065281_o.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwPfuls1OIuMKO1GUUDzaB-NYycMtKVV85r20v0CfeI846-iOn2V2rOdI6DSG9UdxDl7yqAH53FiZPYLU7NaIRAfBluV0dq5uS7H3qb9Kb-pnfUpp9ZfoV1LpdO2FRFNm4Nva0E6MHKJc/s1600/705685_2637549875213_1833065281_o.jpg" height="240" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Miradouro da Lua, Angola; Photograph by João Paulo Simões (2012)</td><td class="tr-caption" style="text-align: center;"><br /></td></tr>
</tbody></table>
<span lang="EN-GB"><span lang="EN-GB">Yet, most of the narrative exposition is
economical and purely visual - by means of viscerally violent flashbacks that
are in contrast with the rest of the film’s stylised gruesomeness. The accuracy
of the torture implements used to dominate and humiliate slaves is the flipside
of a coin mostly dismissed as historically-inaccurate. It also throws my mind
back to a more recent Past, when only a few weeks ago I was in Angola: on one
of the most important journeys of my life...</span></span></div>
<span lang="EN-GB">
</span>
<br />
<div class="MsoNoSpacing">
<span lang="EN-GB"><br /></span></div>
<span lang="EN-GB">
</span>
<br />
<div class="MsoNoSpacing">
<span lang="EN-GB"><span lang="EN-GB">A bright white cube in the distance
comes into view, seen from the passenger’s seat
of a car in motion. ‘That’s the
Museum of Slavery.’ - states the driver, matter-of-factly. A minimalist
construction situated on a bay from which the vast majority of black slaves
departed. Countless Angolans were extracted from this land to help ‘make
Brazil’ (as the same aforementioned poem exposes). </span></span></div>
<span lang="EN-GB">
</span>
<br />
<div class="MsoNoSpacing">
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkD3AgMp5n3N7glw7vr7W-zgoE_GdM83VQMJEpambr6DR-12n34FW50oXG4jJM-5zwF9FmSeSC9Zs5MPqZg_WP5a8I7jqgU81IixQXRZAyeUUOw_EfMvwrusSq02-eiCcAz4eA5PLenpw/s1600/kerry-washington-shoulder-yoke.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkD3AgMp5n3N7glw7vr7W-zgoE_GdM83VQMJEpambr6DR-12n34FW50oXG4jJM-5zwF9FmSeSC9Zs5MPqZg_WP5a8I7jqgU81IixQXRZAyeUUOw_EfMvwrusSq02-eiCcAz4eA5PLenpw/s1600/kerry-washington-shoulder-yoke.jpg" height="132" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Kerry Washington <span lang="EN-GB">in Django Unchained (2013) by Quentin Tarantino</span></td></tr>
</tbody></table>
<span lang="EN-GB"><span lang="EN-GB">I’m in Luanda, the scarred capital of
the country my grandfather loved dearly but was forced out of. I’m in the place
where I was born 37 years ago and that only now I return to. A travelogue that
will later be incorporated into a film ensues...</span></span></div>
<span lang="EN-GB">
</span>
<br />
<div class="MsoNoSpacing">
<span lang="EN-GB"><br /></span>
<span lang="EN-GB"><br /></span>
<span lang="EN-GB"><br /></span></div>
<span lang="EN-GB"><span lang="EN-GB">Travelogue Extract#1</span></span><br />
<span lang="EN-GB"><span lang="EN-GB">14<sup>th</sup> December 2012</span></span><br />
<span lang="EN-GB">
</span>
<br />
<div class="MsoNoSpacing">
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYTU_8dx6P8j5-bllCNWi_Uym6JdnpqooybCMs2nO41KsZzT-If6AQ9yNLzXT0O3tbtLZbpS2MBcS7JR9tMEnSpxR2tylSDAz3fB5dwxfmG55v7ooJD5l8je3wCG_2uOWzRRvkSDPAwqY/s1600/740760_2694476618346_1660252613_o.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYTU_8dx6P8j5-bllCNWi_Uym6JdnpqooybCMs2nO41KsZzT-If6AQ9yNLzXT0O3tbtLZbpS2MBcS7JR9tMEnSpxR2tylSDAz3fB5dwxfmG55v7ooJD5l8je3wCG_2uOWzRRvkSDPAwqY/s1600/740760_2694476618346_1660252613_o.jpg" height="138" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span lang="EN-GB">Wako Kungo, Angola; </span><span lang="EN-GB">Photograph by João Paulo Simões (2012)</span></td><td class="tr-caption" style="text-align: center;"><br /></td></tr>
</tbody></table>
<span lang="EN-GB"><span lang="EN-GB">Going through the Kibala village; down a
road that my father’s mother drove often (yet half a century ago), he tells me;
a white woman alone with her two small children on an Opel of colonial make; as
dwarfed by the majestic landscape of tall rocks and dense green vegetation as
we are now - on a Land Rover that so easily conquers the miles ahead... </span></span></div>
<span lang="EN-GB">
</span>
<br />
<div class="MsoNoSpacing">
<span lang="EN-GB"><span lang="EN-GB">We’re heading towards Wako Kungo –
formerly known as Cela, in the old colonial days. I think of </span></span><br />
<span lang="EN-GB"><span lang="EN-GB">my grandfather; how
he used to come to this area to work and later describe it with wonder, as an
old man (once geographically removed). </span></span></div>
<span lang="EN-GB">
</span>
<br />
<div class="MsoNoSpacing">
<span lang="EN-GB"><span lang="EN-GB">I welcome the shaking of the Land Rover
caused by the beaten track. It conceals my weeping... <span style="mso-spacerun: yes;"> </span></span></span></div>
<span lang="EN-GB">
</span>
<br />
<div class="MsoNoSpacing">
<span lang="EN-GB"><span lang="EN-GB">15<sup>th</sup> December 2012</span></span></div>
<span lang="EN-GB">
</span>
<br />
<div class="MsoNoSpacing">
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgI03gSwdUeb7H5mDrQLOlMQfnlTbM5AegLw2M1V-aD6KHqd1pXysMlv4n0Do-8vH94NX9-Yp9AmnAiYqUMHRvXxykWzl0kaFO5nZqX_a2B7Bds9gOEkJkWG7zE1BfiZnONjtkqR5Pwi_Y/s1600/256052_2694384776050_1353599294_o.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgI03gSwdUeb7H5mDrQLOlMQfnlTbM5AegLw2M1V-aD6KHqd1pXysMlv4n0Do-8vH94NX9-Yp9AmnAiYqUMHRvXxykWzl0kaFO5nZqX_a2B7Bds9gOEkJkWG7zE1BfiZnONjtkqR5Pwi_Y/s1600/256052_2694384776050_1353599294_o.jpg" height="150" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span lang="EN-GB"><span lang="EN-GB">Wako Kungo, Angola; </span><span lang="EN-GB">Photograph by João Paulo Simões (2012)</span></span></td></tr>
</tbody></table>
<span lang="EN-GB"><span lang="EN-GB">We drive past a derelict war tank,
resting tilted on the side of the road. At Kissanga village, where the colonial
architecture has been most ravaged by war, shy faces glance at us. A heavily
pregnant woman, selling fruit by the road, leaps from slope to slope like an
elegant wild goat, to fetch us the bananas of our preference; ‘Only in developed
countries is pregnancy considered an illness...’ - my father comments. In
another market, a friendly young girl tries to hand me a half-naked 2 year-old
baby. She smiles, as if able to read my mind. Angolan eyes are always sad –
even when smiling. My camera hasn’t rolled yet...</span></span></div>
<span lang="EN-GB">
</span>
<br />
<div class="MsoNoSpacing">
<br />
<span lang="EN-GB"><span lang="EN-GB">Travelogue Extract#2</span></span></div>
<span lang="EN-GB"><span lang="EN-GB">19<sup>th</sup> December 2012</span></span><br />
<span lang="EN-GB"><span lang="EN-GB">En route to Cabo Ledo; another driver,
another large vehicle... We cross the Cuanza, the long river that cuts diagonally
through Angola; over an old bridge – the only one that was left standing after
the war.</span></span><br />
<span lang="EN-GB"><span lang="EN-GB">We return via Miradouro da Lua, where we
stop and are forced to put ourselves into perspective: on this crumbling
vantage point over vast merciless shores, surrounded by an ancient geological
identity of the lunar kind, we’re close to nothing... transient, at best...</span></span><br />
<span lang="EN-GB">
</span>
<br />
<div class="MsoNoSpacing">
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfFb87dWXTJFM5VperNdZJCcwp1QThGKkUE6ooaaYlUNuBNRdwarHArpJQlF96eZhMLpas7-N-g73krSAzjePBYehogwY_ST6HR4wnpLjEns1cPOpc0bE-7eeR8KtY33uV27Zor6FghiY/s1600/new-trailer-for-django-unchained-watch-now-124456-470-75.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfFb87dWXTJFM5VperNdZJCcwp1QThGKkUE6ooaaYlUNuBNRdwarHArpJQlF96eZhMLpas7-N-g73krSAzjePBYehogwY_ST6HR4wnpLjEns1cPOpc0bE-7eeR8KtY33uV27Zor6FghiY/s1600/new-trailer-for-django-unchained-watch-now-124456-470-75.jpg" height="112" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span lang="EN-GB">Jamie Foxx in Django Unchained (2013) by Quentin Tarantino</span></td></tr>
</tbody></table>
</div>
<span lang="EN-GB">Travelogue Extract#3<span lang="EN-GB"> </span></span><br />
<span lang="EN-GB"><span lang="EN-GB">2<sup>nd</sup> January 2013</span></span><br />
<span lang="EN-GB">
</span>
<br />
<div class="MsoNoSpacing">
<span lang="EN-GB"><span lang="EN-GB">Mussulo is a protuberant tongue of sand
which turns and looks back at the city of Luanda; technically a peninsula, they
call it an island. This is where I have spent the last five days.</span></span></div>
<span lang="EN-GB"><span lang="EN-GB">With the house on the beach (and its New
Year celebrations) behind me, I enter the sea alone. Only a few boats rock
gently around me.</span></span><br />
<span lang="EN-GB"><span lang="EN-GB">The warm waters feel the closest I can
imagine amniotic fluid to be like. I face the place where I was born and it
makes sense. The skyline is that of a city bursting at the seams; originally built
to host a few thousands, but that now contains over 5 million. It’s a place of
extremes; of shocking contrasts... Suddenly, I even understand my filmography
better. The people over there are like me - with an endless ability to
resurrect themselves...</span></span><br />
<span lang="EN-GB">
</span>
<br />
<div class="MsoNoSpacing">
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjp-BJCU7eJ74HZGS7PtXcnE2YWu086vipqF4pJDJrOpsfeWCaWlhe_y1G_fG9OmnHBET_3Aw0zmTvm1PTTnZRjUwAUB_yYHWBZp0BWCATkDUnr4mxSdrU5HSS7VZ0ebYxZH0zWjxVlZDk/s1600/HCDIH_Desirae.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjp-BJCU7eJ74HZGS7PtXcnE2YWu086vipqF4pJDJrOpsfeWCaWlhe_y1G_fG9OmnHBET_3Aw0zmTvm1PTTnZRjUwAUB_yYHWBZp0BWCATkDUnr4mxSdrU5HSS7VZ0ebYxZH0zWjxVlZDk/s1600/HCDIH_Desirae.jpg" height="200" width="174" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Freya Finnerty in He Can Delve In Hearts (2012) by<span lang="EN-GB"><span lang="EN-GB"><span lang="EN-GB"> João Paulo Simões</span></span></span></td></tr>
</tbody></table>
</div>
<span lang="EN-GB">
</span>
<br />
<div class="MsoNoSpacing">
<span lang="EN-GB"><span lang="EN-GB">I emerge from the screening onto a dark,
cold Sheffield. The snow falling catches the light of various street lamps and
it sparkles as it blankets the ground I walk on. It feels as unreal as it gets.
</span></span></div>
<span lang="EN-GB"><span lang="EN-GB">More than a sense of satisfaction with
Tarantino’s film, I feel invigorated by Django, the character. Not so unlike
him, I have faced in the past that presumption of superiority rooted in
prejudice. But my inner fire burns steadily now. And I’m ready to keep my
grandfather’s creative flame alive - with my own. <span style="mso-spacerun: yes;"> </span></span></span><br />
<span lang="EN-GB">
</span>
<br />
<div class="MsoNoSpacing">
<span lang="EN-GB"><a href="http://mauriciodealmeidagomes.blogspot.co.uk/"><span lang="EN-GB">mauriciodealmeidagomes.blogspot.co.uk</span></a></span></div>
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</xml><![endif]-->Continues on <a href="http://suchtactilethoughtsii.blogspot.pt/">T a c t i l e T h o g h t s - Volume II</a><br />
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