“Calling all! A man walks free,” reads the description at ZEBRA, where this film by Manuel Vilarinho of a poem by Mário-Henrique Leiria was awarded Special Mention in the Prize for the Best Film for Tolerance. The ZEBRA website also has a short bio for Manuel Vilarinho:
Born in Portugal, 1974. Graduated in Tecnologia da Comunicação Audiovisual by IPP, Instituto Politécnico do Porto in 2004. He won several awards at video film festivals and currently works on TVI, Independent Television in Portugal.
The English Wikipedia entry for the poet is similarly brief:
Mário-Henrique Leiria (1923–1980) was a Portuguese surrealist poet. Born in Lisbon, he studied at the Escola de Belas Artes. He and his fellow surrealists were involved in an absurdist plot to overthrow the dictatorship of Antonio Salazar. He is best known for his books Contos do Gin-Tonic (Gin and Tonic Tales, 1973) and Novos Contos do Gin (More Gin Tales, 1974). He died in 1980.
I used the reading on Lyrikline (Audio production: Casa Fernando Pessoa, Lisboa 2004 ) to create the soundtrack. The audio version is based on a former version of the poem before called ‘Maturidade 2’
The translation [by Ana Hudson] was used as subtitles.
Bernardo Pinto de Almeida has a natural capacity for weaving a cloth so that the poem reveals itself as if a picture of a living body on a canvas of words and images.’
(Guy Barker, British poet, 1964-2009)
Guy Barker’s quote (and the content of the poem) led me back to the footage Eduardo Yagüe made for me during the summer of 2014.
I guess I almost used every bit he filmed and am grateful for his ‘eye’
Bringing it all together was fairly easy.
I graded some of the footage for a higher contrast.
It was the flow of the reading and the pace of the music that gently steered me to the cutting choices I made. [links added]
This is Azulejo ou l’illusion visuelle, an “animated film by Kolja Saksida made in the two week workshop in Lisbon, Portugal,” according to the description on Vimeo from ZVVIKS, the Slovenian Institute for Film and Audiovisual Production. A note at the end of the film adds that it was inspired by a painting on tiles representing Lisbon before the great earthquake of 1755.
The film includes just the first four lines of the poem in the soundtrack, with a French translation in titling. Here’s the English translation given in the description:
I am nothing.
I’ll never be anything.
I can not want to be anything.
Apart from this, I have in me all the dreams of the world.
Director Cine Povero notes:
A poem by Portuguese writer Sophia de Mello Breyner (1919-2004)
Read by Natália Luiza (“Ao Longe os Barcos de Flores”)
Music: “Guidemebytheshiplights, part 2” by Matt Stinton
Filmed at Terra Nostra Park (São Miguel Island, Azores) and Sintra National Park (Portugal).
This is FIAPO, a short poetry film available in multiple languages and with its own Facebook page. The poet, Nereu Afonso, is credited with the screenplay and also stars in the film. Alexandre Braga directs. The description at Vimeo and Facebook reads,
Um homem só, palavras de um homem só…
O que dizer? Como dizer e para quem dizer quando o silêncio à sua volta lhe parece portador de mais sentido?
O que é mais lúcido? O que é mais absurdo? Falar ou calar?
Esta é a terceira experiência criativa de Alexandre Braga e Nereu Afonso. Talvez não trará respostas. Contentar-se-á em lançar perguntas. Perguntas presas num último fiapo… no qual poderíamos nos agarrar.
Google Translate renders this as follows:
A man, a man only words …
What to say? How to say and who to tell when the silence around him seems to carry more meaning?
What is more lucid? What is more absurd? Speak or be silent?
This is the third creative experience of Alexandre Afonso Braga and Nereus. It may not bring answers. Content will be to launch questions. Questions lint trapped in the last … in which we cling.
(Hat-tip: the Video and Film Poetry group on Vimeo)
From the poetry of Fernando Pessoa, this visual message proposes a moment of introspection and places us in a universe of thought: The man, once again trying to reach the divine.
All this happens in a kind of sanctuary: The top of the highest mountains in a small island in the middle of the Atlantic.
Of particular interest to me here was the way the filmmaker went beyond the usual subtitle approach for the English translations of each line, and integrated them into the film as text animations, resulting in one of the more thoroughly bilingual poetry films I’ve seen.