There is a village in the mountain and a house in the village, where Ema repeats gestures and tasks: she takes care of her grandmother, walks, reads, waits. Until one day the cycle breaks: what happened in the mountain house?
In a rural landscape, that resembles an old Portugal, an elderly man find out that his wife, whom he believed to be dead, was seen shopping in town. Spiteful and sad, he wants to hide from everyone, but his friends insist that he uses this situation to become stronger and try to get married again.
In 2016, Edgar Pêra released The Amazing Spectator, a playful investigation into cinema’s disquieting essence that had everything from negative film images of boobs and positively splendid interviews to a donkey hand puppet. The film and an accompanying book formed his PhD thesis. But as so often with him, projects turn into obsessions – especially when there are masses of notions not pondered, thoughts not elaborated upon. And so KINORAMA - Beyond the Walls of Cinema was born, a stand-alone continuation of The Amazing Spectator that looks at cinema’s future in cyberspace and, accordingly, perhaps the end of its enslavement to figurative representation, the 'stupid sacred in narrative cinema' (to use a Pêra’ism), realism and artificiality in 3D cinema, and many other aspects.
Laura is an essay film whose inception began from a project of research and collection of familial photographical archives. It departs from the exploration of the notion of images as bygone experiences in time which, from that timelessness, expand in space, thus creating small narrative moments.
Jorge de Sena was forced to leave his country. First he moved to Brazil, and later to the USA. He never returned to Portugal. During his 20-year-long exile, he kept an epistolary correspondence with Sophia de Mello Breyner Andresen. These letters are a testimony of the profound friendship between the two poets, letters of longing and of desire to “fill years of distance with hours of conversation”. Through excerpts and verses, a dialog is established, revealing their divergent opinions but mostly their strong bond, and their efforts to preserve it until their last breaths.
A kino-investigation about spectatorship, a continuous conversation between different kinds of spectators: which one is more cinema: Citizen Kane on a mobile phone or a football game projected in a cinema theatre? What is the cinema of uncertainty? How many kinds of amazement exist? Does fear and belief precede amazement? What are the rights and duties of the spectator? Is the essay film a manifesto against voyeurism? Should spectators be paid? What amazes the spectator of this day and age?
I am the double of the shadow of my own image. An allegory that occupies my place. This is my act of contrition. Beyond good and evil, I stand as an equation: Its result cannot be manipulated By morals or ethics. In mathematics there is no place for beliefs Just as life and death Are a certain fate.
Your past already is the projection of your future. However, it was never more than a light in the sky.
Since 2011, Tânia Dinis has developed a research and creation work about the intimacy, family archive, document, time-image-memory-dream correlation, and these specific works are inserted in the "Family Archive" series, which is in constant development and they crossed diverse perspectives and artistic expressions as the photography, performance art and cinematography. This research begins by the investigating and collecting images, personal or otherwise, as well as other devices: films, letters, slides, photographs, objects – and then they’ll be assembled in artistic experiments, reorganized, revisited and manipulated by the assembly, implementing collages and sound fragments, constructing small narratives in an exercise of confronting the image and sound, exploring the idea of image as an experience of the ephemerality of the time and memory, also using other registers of real image.
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