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Realização | Grafismo | Fotografia by Play Bleu 2015
Modelo: Vanessa martins
Música: Legendary Tiger Man " Life Aint Enough For You"
60 seconds [VAI SER APRESENTADO NUM FESTIVAL INTERNACIONAL]
[TRABALHO A SER APRESENTADO NUM FESTIVAL INTERNACIONAL]
Title of film in English * Box of Charity
Title of film in original language CAIXA DE ESMOLAS
Country/countries of production * PORTUGAL
Release year * 2014
Director * CRISTINA MENDANHA
Choreographer CRISTINA MENDANHA
Performers GABRIELA BARROS | DAVID RAMALHO
Composer
Music and sound design * PLAY BLEU
Cinematographer PLAY BLEU | CRISTINA MENDANHA
Other principal crew
Producer
Production company ARTE TOTAL
Synopsis or a few lines about the film (English)
The box is an immense space, equal to the one that I tear in my head. It’s a closed space, with slots where riches are deposited. The bottom of the box reveals marks of who wears it and in it lives. It’s a side. I think more about him because I have the habit of looking down. It works as a map that shows us the city streets. It shows us important places that we should visit. But it also shows the corner where we find what changed our life. And everything only lasts for sometime. It starts then it ends. The head quickly tears the space. I’ll try to match him a body. I’ll force the body to be fast. And to write. Then I’ll gather all the writings. I’ll select, cut and put back together. I’ll set up a new map. I’ll repeat roads. I’ll repeat lots of times. I’ll sit and I’ll rest. I’ll talk about what has happened to me. I’ll write down the differences and get back to work.
The Box of Charity is a textual event but also a gear mechanism of apparently non-related characteristics that give birth to arbitrary connections. It’s also a textual experiment in which overlapping becomes a mechanism that produces it’s own connections. The mechanism that emerged from this experience drew unexpected directions and surprising sensations that only my dog’s imagination could surpass. It’s a study about what cannot be compared and can only be corresponded. The similarities and the differences, the acquiescence’s and dissonances, they only make sense if we face them as reasons for change.
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