A morte habita à noite

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Note of intent

The experience of having shoot the short film When we die at night (2011) put me face to face with a more radical cinema in which characters that are not aestheticized or romanticized inhabits. A more arid world and where the happiness concept goes far from the common approach.
My main motivation to shoot this movie is to make the audience fall in love (and identify themselves) with the marginalized or self-marginalized characters, creating an approach to a deeper reflection. The greatest challenge is to do it with affection and kindness.

Synopsis

With a narrative design structured in three parts, each
of them about the protagonist’s relationship with a different woman, this film is a chronicle about love, death and urban melancholy. Raul is a fifty-year- old unemployed alcoholic man whose sole hope is his passion- ate love for Ligia, who has been his partner during his past years. When she leaves him, he seeks booze, contracts tuberculosis and amidst health centers and transitory jobs, he builds a sweet relationship with Cassia, a sixteen-year-old girl. When his body and mind are already very corroded by the disease, Inês appear in his life. She is the saddest woman he has ever met. A corpse that happened to end up in the boarding house where he lives through his friend Tomás. They take Inês to Janga beach in Olinda. This trip makes an unexpected affection grow between Raul and the “sad woman”, who will be thrown into the sea.

Visual concept

We seek a staging style based on the expressiveness of the actors’ bodies on the scene, in harmony with an expressionist photo and environments in a downfall movement, building this way a dense and nocturnal atmosphere: black silhouettes, animals, ancestors. The greatest weight is in the scene’s instants, in small gestures. The voices whisper and echo to be heard inwardly among the characters. The soundtrack, as well as non-diegetic sounds, will have the role of enhancing this intimate atmosphere and bring elements that arouse sensoriality.