Sherlock Jr de Buster Keaton

“De certa forma as amigas foram atrás do rasto, das pistas deixadas pela amiga que se perdeu…”

« In a way, the friends went after the trail, the clues left by the friend who got lost…”

Joana Jordão

Rentrée des Classes de Jacques Rozier

“Tal como o rapaz que observa as árvores, a menina perdida observa as árvores, a natureza…”

“Like the boy who watches the trees, the lost girl watches the trees, the nature…”

Gonçalo Nunes e Joana Jordão

Nostalgia de Andrei Tarskvky

“O senhor não desistia de percorrer o caminho todo com a vela acesa, tal como as duas amigas também não desistiram de procurar a amiga”.

“The man didn’t give up on going all the way with the candle lit, just as the two friends didn’t give up looking for their friend either.”

Carolina Santos

Vou para Casa/Je Rentre à la Maison de Manoel de Oliveira

“Associei a solidão do avô à solidão da menina perdida”

“I correlated the grandfather’s loneliness to the loneliness of the lost girl”

Maria Pinheiro

O Pão e a Rua/The bread and alley de Abbas Kiarostami

“Mostrou a evolução da relação deles, do estado de espírito da personagem. De início o rapaz estava com medo, mas depois foi ganhando confiança.

No filme, a menina perdida, tal como no Pão e a Rua, vai ganhando confiança à medida que o tempo passa e ela fica sozinha.”

“It showed the evolution of their relationship, the character’s state of mind. At first the boy was scared, but then he gained confidence.

In the film, the lost girl, as in The bread and Alley, gains confidence as time goes by and she is left alone.”

Gonçalo Marques

Henri Fantin Latour – La lecture

Jim Jarmusch – Stranger Than Paradise

Beatriz Estrelo

Beatriz Evaristo e Liliana Mestre

Beatriz Mestre

Marta Barrocas

Daniela Dias e Debora Ramos

Jim Jarmusch – Stranger Than Paradise

Johannes Vermeer  – Lezend meisje bij het venster / Rapariga a ler uma carta à janela

Lumière – Laveuses sur la rivière

Repérage/ Filme

Repérage/ Filme

Repérage/ Filme

Le lundi 19 avril, nous nous sommes rencontrés à nouveau à Santo Domingo pour réfléchir à des idées pour le dernier exercice consacré au “temps au cinéma”. Nous avons décidé de travailler l’exercice autour de deux temps: le temps de l’expérience et le temps de la mémoire: une jeune femme se promène dans les rues de la ville où elle a grandi, ce qui déclenche des souvenirs de son enfance dans cet environnement.

On Monday, April 19, we met again in Santo Domingo to brainstorm ideas for the final exercise dedicated to time in the cinema. We decided to work the exercise around two times: the time of experience and the time of memory: a young woman walks in the streets of the town where she grew up, which triggers her childhood memories in that environment.

Exploraremos el ritmo propio de las vivencias para intentar plasmar su ritmo hacia el interior de cada plano. Para nutrir el archivo de experiencias / recuerdos a registrar, dedicamos un tiempo de la jornada a contarnos en ronda anécdotas y vivencias. Hacer carreras hasta llegar al arco iris, jugar a la luz de las velas las noches en que se corta el suministro eléctrico, robar pasteles de hojaldre o buscar a caballo huevos de teros (Vanellus chilensis) fueron algunas de las vivencias compartidas.

Nous explorerons le rythme des expériences pour essayer de capturer leur rythme dans chaque plan. Afin de nourrir l’archive des expériences / souvenirs à enregistrer, nous passons du temps pendant la journée à nous raconter des anecdotes et des expériences. Courir vers l’arc-en-ciel, jouer aux chandelles les nuits où l’alimentation électrique est coupée, voler de la pâte feuilletée ou chercher à cheval des œufs d’an oiseau propre de notre plaine (le Vanellus chiensis) étaient quelques-unes des expériences partagées.

We will explore the rhythm of the experiences to try to capture their rhythm into each shot. In order to nurture the archive of experiences / memories to be recorded, we spend some time during the day telling each other anecdotes and experiences. Racing to the rainbow, playing by candlelight on nights when the power supply is cut, from above the horse stealing eggs of some regional birds (Vanellus chilensis) were some of the shared experiences.

Esperamos pronto compartir algunas de esas vivencias en forma de imágenes y sonidos.

Nous espérons partager bientôt certaines de ces expériences sous forme d’images et de sons.

We hope to share some of those experiences soon in the form of images and sounds

¡Saludos desde Santo Domingo!

Après deux semaines de pluie qui nous ont empêché d’aller à l’école les journées d’atelier, le vendredi 16 avril, nous avons pu nous rencontrer à Santo Domingo.

After two weeks of rains that prevented reaching the school on workshop days, on Friday April 16 we were able to meet us again in Santo Domingo.

Dedicamos la jornada a compartir distintos materiales cinematográficos. Miramos nuestros propios ejercicios rodados en el marco del taller y fragmentos de otras películas. Fue particularmente nutritivo explorar los modos en que el director Victor Erice describe el paso del tiempo en “El sur”.

Nous avons consacré la journée au partage de différents matériaux cinématographiques. Nous avons regardé nos propres exercices tournés dans l’atelier et des extraits d’autres films. Il était particulièrement encourageant d’explorer la manière dont le réalisateur Victor Erice décrit le passage du temps dans «Le sud».

We dedicated the day to sharing different cinematographic materials. We watch our own exercises shot in the workshop and clips from other films. It was particularly interesting to explore the ways in which director Victor Erice describes the passage of time in « The South. » 

Miramos también un fragmento de “Ser y Tener”, de Nicolas Philibert, encontrando muchos puntos de contacto entre aquella escuela y la nuestra. El fragmento fue enriquecedor para pensar el cine como un medio para registrar la vida a través de la observación. Hacia el final de la jornada conversamos sobre el ejercicio final, lo que será el foco de nuestro próximo encuentro.

Nous avons regardé également un extrait de «Etre et Avoir», de Nicolas Philibert, trouvant de nombreux points de contact entre cette école et la nôtre. L’extrait était enrichissant pour penser le cinéma comme un moyen d’enregistrer la vie par l’observation. Vers la fin de la journée, nous avons parlé de l’exercice final, qui sera l’objet de notre prochaine réunion.

We also look at a fragment of “Ser y Tener”, by Nicolas Philibert, finding many points of contact between that school and ours. The fragment was enriching to think of cinema as a means to record life through observation. Towards the end of the day we talked about the final exercise, which will be the focus of our next meeting.

¡Saludos desde Santo Domingo! /Salutations de Santo Domingo! / Greetings from Santo Domingo!

Uma menina está com um homem desconhecido e uma mãe está à espera dela: ela nunca mais chega e não está em nenhum sítio em que devia estar. Finalmente vê-se o balão sem menina nenhuma. A sequência está montada de forma a intercalar a mãe à espera e a menina ou onde não está a menina, isso faz com que se estenda muito o tempo e intensifica a ansiedade da mãe que cresce à medida que o tempo passa. O tempo passaria
de maneira muito diferente se fosse só um plano sequência da mãe na cozinha.

about the excerpt from « M le Maudit »

A girl is with an unknown man and a mother is waiting for her: she never arrives and is nowhere she should be. Finally the balloon is seen without any girl. The sequence is assembled in such a way as to interpose the waiting mother and the girl or where the girl is not, this causes the time to extend a lot and intensifies the mother’s anxiety that grows as time passes. Time would pass very differently if it were just a sequential plan of the mother in the kitchen.