A Mensageira

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Note of intent

Salvador provides a complex backdrop to the development of the narrative of A Mensageira. Behind the vibrant culture, the blue sea of All Saint’s Bay, is a context marked by profound social inequalities. Violence is part of the everyday life of the city. Salvador is the third most violent state capital in Brazil. Young black men from the city’s periphery are the principal victims of violent death. Impunity in many of these cases is linked to a feeling common in society that associates young black people with criminality.

Synopsis

Iris is an official in the justice system and is witness to the social contrasts and difficulties of the population that lives in Salvador. Iris has to travel around to different parts of the city so she can deliver court orders in person. Initially, she travels across the city by bus. Tired of being stuck in traffic jams, Iris contracts the services of Itamar, a young black man who has a motorcycle taxi. The laidback and joyful nature of Itamar is good for Iris, since it brings some lightness into her daily life. Little by little, a friendship develops between them. With the military police go on strike in Salvador, urban violence increases and people are obliged to lock themselves away in their homes. The number of homicides overtakes that found in countries at civil war. It is within this context that Iris experiences a feeling of revolt that she has previously tried to ignore.

Visual concept

The aesthetic of A Mensageira will be realism. The photography, without a great deal of contrast, will also take this into account. The camera, usually hand-held, will follow the characters’ movements.  Wide shots will be emphasized. This is how we intend to reveal the city, its geography and contrasts. The staging will be naturalistic. The dialogue must sound spontaneous. We will avoid any imposition of voice or theatricality of movement by the actors. Using these resources, we will seek to imbue the film with authenticity and truth.