Diretor: Bruno Jorge
Produtor: Bruno Jorge
Montagem: Bruno Jorge
Som Direto: -
Fotografia: Bruno Jorge e André Bittencourt
Trilha: Dona Lourdes
. Festival Visions du Réel 2010, Nyon, Switzerland . Festival Internacional Fluxus 2010 . Festival de Huesca 2010, España . Festival de Invierno de la Cinemateca Uruguaya, Uruguay . Villa de Leyva International Film Festival, Colombia . La pellicule ensorcelée, Maurice Islands . Festival de Cine Latinoamericano de Flandes 2010, Belgium
Comentário do Diretor: « The barons » is a a lyrical and melancolic film, where the words many times give place to small and detailed humans gestures surrounded by a certain absurdity. The film’s realistic aspect confronts with scenes that demonstrate a unusual treatment of this reality. The script, characters and actions many times become chocking elements of the illogical, with the objective of reproducing with fidelity the nonsense and the lack of solutions of man and his society. Seeing the film from a purely cinematographic point of view, this false antagonism absurd-reality is described through unsaturated colours, non-abrupt camera movements, where the fixed camera will alternate with a hand-held super 8 camera. The film has a contemplative calling and these small gestures are fundamental to confirm the dramatic force of these actions. The scenes try to reproduce all the human nuances and idiosyncrasies, most of all not spoken, offering us the impression that it is a film that touches slightly a possible repetitive excess. But it is precisely this basis that supports and is supported by the characters fisically interacting with the camera. These characters express themselves with unconscious intensions. The bodies become signs of a suspended hysteria. All of these will be discussed through one the central dispositives of the narrative : divide, cut in pieces. The takes will have as basis slices of bodies and objects which will be in evidence, many times isolated, like the billboard itself. The short takes demonstrate some sort of stylistic potential that weighs over the autonomy of what is shown. We look for sensitive comprehension of the characters and actions, and a way of doing so through the expressions of the whole body. It is through showing the actions of details and parts, including faces, that the film attempts to recompose and reconstruct each character. A good number of shots of the film are treated so that we have the impression that something is missing, which will end up suggesting or insinuating a certain misterious universe within each character. Pieces of phrases spoken carelessly will maintain the spectator’s attention on the gestures that exchange a dialogue between themselves. The pieces of the characters’ bodies frequently express themselves more eloquently than words. This asthetic direction choice permits a bodily exchange, a game of glances, arms that stubbornly do not touch, parts of faces to be compared, analogue between objects – based exactly on a fragmented vision of the body and of the individual. A subtlety in the absurd treatment, together with its contemplative and realist vocation, combined with the « cutting » of the bodies will be pursued in all aspects of the film from the composition of the shots, attempting to reproduce an atmosphere that is chaotic and poetic at the same time, to the eliptic editing that reduces the time for reflection between actions and raises the sense of the illogical within the ensemble.
Trago doce, trago amargo
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