Gustavo Beck

This allegorical docufiction provides the viewer with a lightly meditative and at the same time modern impression of the Christian holiday while paying witness to the transformation of the sacral space and the holiday's religious message. The film's anonymous protagonists from opposite sides of the world discuss the paths of their faith in this visually stylized and stylistically edited film.

The adventure of Melissa and Gustavo starts aboard a red cargo ship crossing the Atlantic Ocean. It takes them from Brazil to Berlin, a city of perpetual movement, where the old constantly has to give space to the new. The couple finds a home and transforms it into the center of their own universe. As time passes and seasons change, life and cinema become interchangeable and their apartment evolves into an ever-changing stage, where friends are invited to play their own roles and reality and fiction merge. Until one day a cosmic portal appears in their home, opening connections between the past, the present and the future.

Antonio runs away from home and tries to spend the night at his ex-girlfriend's apartment. There he finds a brazilian girl, an unexpected guest. Johnny is struggling to stage his first theater play in Lisbon. His friendship with the young light technician will make him face his real problems. Débora is passing by, finally returning home. When she goes to the theater, she falls asleep, and is awaken by the protagonist. Three dimensions of the same story.

This allegorical docufiction provides the viewer with a lightly meditative and at the same time modern impression of the Christian holiday while paying witness to the transformation of the sacral space and the holiday's religious message. The film's anonymous protagonists from opposite sides of the world discuss the paths of their faith in this visually stylized and stylistically edited film.

This allegorical docufiction provides the viewer with a lightly meditative and at the same time modern impression of the Christian holiday while paying witness to the transformation of the sacral space and the holiday's religious message. The film's anonymous protagonists from opposite sides of the world discuss the paths of their faith in this visually stylized and stylistically edited film.

Invented by the post-New Wave, the exercise is well-known: put a filmmaker in the frame, make him talk about his career, evoke his admirations, rummage in his methods, and add words to silences, spoken images to seen images. It’s always very instructive. As is the case here too. Chantal Akerman, passing through South America, talks about herself for an hour, and it’s fascinating. Even if her recalling of the relationship between the cinema and time makes up only a few rare minutes.

The adventure of Melissa and Gustavo starts aboard a red cargo ship crossing the Atlantic Ocean. It takes them from Brazil to Berlin, a city of perpetual movement, where the old constantly has to give space to the new. The couple finds a home and transforms it into the center of their own universe. As time passes and seasons change, life and cinema become interchangeable and their apartment evolves into an ever-changing stage, where friends are invited to play their own roles and reality and fiction merge. Until one day a cosmic portal appears in their home, opening connections between the past, the present and the future.

Fragments of the daily life of Álvaro, who left Pinochet’s Chile in the 1980s to invent a new life for himself in Brazil.

Fragments of the daily life of Álvaro, who left Pinochet’s Chile in the 1980s to invent a new life for himself in Brazil.

Fragments of the daily life of Álvaro, who left Pinochet’s Chile in the 1980s to invent a new life for himself in Brazil.

Found footage documentary about Ismar Tirelli Neto.

Found footage documentary about Ismar Tirelli Neto.

A silent, black-and-white train journey through Eastern European winter landscapes takes a man to a Croatian village. An arrival in the cinematic tradition of 1920s avantgarde, with the railway and industrial modernity as a favourite graphical motif, which takes him past a fish market and a strange procession, and finally home to a small family, where the grandparents drink tea, smoke cigarettes and chat cheerfully. The image of a young woman burns itself onto the celluloid - and into the filmmaker's consciousness.

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