Director Marta Mateus Wanted to Disrupt the ‘Banal Image of War’ Presented by Mass Media With Her Locarno Player ‘Fogo do Vento’

As a cinephile with a deep appreciation for films that challenge the norm and delve into the intricacies of human existence, I found myself utterly captivated by Marta Mateus‘ debut feature, “Fogo do Vento.” This film is a testament to the power of art and the patience required to bring a vision to life.

Marta Mateus’ debut film, “Fogo do Vento,” is richly infused with imaginative mystique and meticulously grounded in human culture, posing significant challenges to the medium of cinema.

The movie, spanning over four years in production, is not short on ambition or precision – quite the contrary, it’s incredibly brief, just about 70 minutes long. These qualities give the film a unique intensity and sharp focus.

At the Locarno Film Festival, where his captivating debut work was unveiled in the main competition, EbMaster expressed that her approach to filmmaking is akin to running an “art studio” (atelier). Indeed, the movie itself appears more like a painstakingly created art piece rather than a conventional film, further emphasizing Mateus’ perspective.

The immobile nature of the camera in the movie contributes to giving each scene a sense of being carefully constructed or staged. “Once, a filmmaker commented on my work saying, ‘You made that film where nothing ever moved.’ I didn’t understand at first, but then I realized it was because the camera itself rarely moves.”

As a passionate cinephile, I’ve never formally studied cinema, but instead, I dabbled in philosophy, theater, and music. This was my way of wagering that these diverse fields would enrich my perspective on filmmaking in the long run. In the shade of a tree in Locarno’s garden, I shared this thought: “I’ve delved into numerous subjects, but cinema wasn’t one of them. I chose to avoid it, as I knew I wanted to create films myself. I didn’t want anyone else dictating my approach.”

In Mateus’ forest-based film, shot predominantly during daytime, sunlight takes center stage. It intensely illuminates laborers tending vineyards and slips between tree foliage as they find shelter from a roaming bull in the branches above. As we conversed, Mateus vividly described the challenges of working with ever-changing natural light and not conforming to any schedule to catch it perfectly. Repeatedly, Mateus and her team revisited the same locations, striving for authenticity in every shot.

“I frequently focus on mental images that pop up. Over time, when photographing, these images get stored in the recesses of my mind. Sometimes, new images might emerge during shooting, necessitating changes to the storyline, but as filmmakers, we understand and adapt to this dynamic process.”

In the artwork “Fogo do Vento,” the shifting light serves as the most striking symbol of ephemerality. However, Mateus’ creations transcend mere depictions of embodiment and presentness. With each frame, there appears to be a subtle summoning of history, hinting at a materialistic interpretation of past events.

“The work titled ‘Fogo do Vento’ encompasses themes of community, nation, and strife while also functioning independently as a piece of art. It resonates on personal and profoundly historical scales.”

“Mateus points out that we each harbor a vast, interconnected world within us, and that we are accountable for this historical link.” The vintage photographs depicting the African colonial war, presented by Maria Catarina, or the ghostly presence of João de Encarnação, the director’s great-grandfather, portrayed as a young soldier from the World War, all seem to underscore the enduring influence of history’s spectral echo.

The movie transcends national stories and contributes to a broader clash of visuals. Additionally, Mateus aimed to ponder over how commonplace war imagery has become recently. As political disputes escalate, cinema serves as a platform for presenting an alternative image to the often-depicted violence in mainstream media.

“History is shaped by visuals too. It’s crucial to decide on the images we wish to preserve, for depictions of war foster more war-like imagery. Film should serve as a disruptor in this cycle, providing a perspective on the often overlooked aspects of humanity.”

The movie is deeply connected with an ancient, almost spiritual region – Alentejo in Portugal – which serves as a backdrop for symbolic visuals. A menacing bull wanders through the fields, compelling the farmers and laborers to seek refuge in the trees, thereby adding a fresh perspective to the concept of collective resilience.

The director shares that they spent their childhood in a remote part of Portugal, an area where oral traditions hold significant value. Narrating tales – legends and myths – was an integral aspect of our daily existence, according to them.

My personal tale intertwined significantly with the movie’s symbolic depiction of history and the potential for shattering the cycle of pain – the dream of a revolution and freedom. “The sun has been around far longer than the foundations upon which our history rests.”

In earlier times, militant films often used startling visuals to spark conflict, provoke viewers into taking sides. Contrastingly, Mateus chooses a distinct form of resistance – a meticulous interpretation of cinematic force and an unorthodox, rhythmic dialogue reminiscent of chants, mirroring how oral cultures perceive the world. This is strikingly different from the contemporary, linear, capitalistic way of interpreting reality.

She believes that movies today hold immense significance, yet we often fail to recognize this impact. They carry symbolic power and spark our creativity in ways we may not fully comprehend. Movies can be disruptive and enlightening, provoking an emotional or sentimental response within us – a new awareness about something. In this process, they generate something fresh. She emphasizes that how and why a film resonates with you is equally important, encouraging viewers to let her movie convey its message independently.

2024-08-14 15:47

Director Marta Mateus Wanted to Disrupt the ‘Banal Image of War’ Presented by Mass Media With Her Locarno Player ‘Fogo do Vento’

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