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luís soares

Blog do escritor Luís Soares


Manifesto is a 2015 Australian-German multi-screen film installation written, produced and directed by Julian Rosefeldt. It features Cate Blanchett in 13 different roles performing various manifestos. Production on the film began in December 2014 in Berlin, where it was shot over 12 days. The film premiered and screened at the Australian Centre for the Moving Image from December 9, 2015 to March 14, 2016. The installation was also shown in Berlin at the Museum für Gegenwart, from February 10 to July 10, 2016 and the Park Avenue Armory in New York City from December 7, 2016 to January 8, 2017.

A 90-minute feature version will premiere at the Sundance Film Festival in January 2017.

Noiserv ao vivo no CCB

// Noiserv

// Centro Cultural de Belém (13/03/2015) - LIVE

This video was produced by the portuguese national Television RTP.


_Ilustração Digital: Diana Mascarenhas []

_Câmaras: Ângelo Assis, João Sardinha, Antero Batista, Bruno Duarte, Rui Lima Matos, Pedro Pereira, Diogo Soares
_Assistentes às operações: António Costa, Fernando Silva, Fábio Malato, Écio Martins, Victor Rodrigues, Orlando Aurélio
_Caracterização: Paula Dionísio
_Mistura de imagem: João Trindade
_Controlo de Imagem: Bruno Arraiolos
_Audio: Henrique D'Assumpção, Jorge Almeida, Miguel Pereira
_Iluminação: Ana Pereira, Inês Sanches
_Eletricista: Jaime Correia
_Técnico de Eletrónica: Nuno Costa
_Registo Magnético: Bruno Albuquerque
_Edição: Mário Simões
_Pós-produção audio: Luis Mateus, Noiserv
_Assistente de produção: Zulmira Silva
_Anotadora: Paula D'Itaben
_Chefe Técnico de Produção: António Marques
_Produção: Frederico Wiborg
_Gestão de Projecto: Pedro Bessa
_Realização: Pedro Miguel Martins

_Parceiros Media: RTP, Antena3

Jameson Fitzpatrick - I Woke Up

and it was political.
I made coffee and the coffee was political.
I took a shower and the water was.
I walked down the street in short shorts and a Bob Mizer tank top
and they were political, the walking and the shorts and the beefcake
silkscreen of the man posing in a G-string. I forgot my sunglasses
and later, on the train, that was political,
when I studied every handsome man in the car.
Who I thought was handsome was political.
I went to work at the university and everything was
very obviously political, the department and the institution.
All the cigarettes I smoked between classes were political,
where I threw them when I was through.
I was blond and it was political.
So was the difference between “blond” and “blonde.”
I had long hair and it was political. I shaved my head and it was.
That I didn’t know how to grieve when another person was killed in America
was political, and it was political when America killed another person,
who they were and what color and gender and who I am in relation.
I couldn’t think about it for too long without feeling a helplessness
like childhood. I was a child and it was political, being a boy
who was bad at it. I couldn’t catch and so the ball became political.
My mother read to me almost every night
and the conditions that enabled her to do so were political.
That my father’s money was new was political, that it was proving something.
Someone called me faggot and it was political.
I called myself a faggot and it was political.
How difficult my life felt relative to how difficult it was
was political. I thought I could become a writer
and it was political that I could imagine it.
I thought I was not a political poet and still
my imagination was political.
It had been, this whole time I was asleep.

Desert Fire #153, from Desert Canto IV: The Fires, 1984

Independentemente dos méritos cinematográficos de Nocturnal Animals de Tom Ford - eu sou daqueles que gostou muito - há toda a presença de arte contemporânea de vários tipos e formatos, muitas vezes no ecrã, em particular ligada á personagem de Amy Adams, Susan Morrow, galerista em Los Angeles. Nem estou a falar de inspiração visual, estou a falar de obras de arte como parte do cenário.

A propósito, vale a pena ler este artigo e a entrevista com Shane Valentino, o designer de produção do filme. Diz ele a certa altura:

My favorite artwork in the film is Richard Misrach’s "Desert Fires #153" photograph in Susan Morrow’s house foyer. It was an early reference on my mood board for Nocturnal Animals' West Texas storyline. Tom immediately responded to the photo, not only because it was a part of his personal collection, but because it captured some of the ideas we were trying to articulate—desperation, confusion, and fear. The photo has a man pointing a rifle at another man who is smiling to the camera. Normally it could be interpreted as a playful moment between two men, the threat of annihilation diffused by a simple smile, but by placing the action or “capturing” the moment within an environment consumed by smoke and fire, the playfulness evaporates and the imminent danger is highlighted. The photo does an incredible job of capturing this tension, a tension almost duplicated in the highway scene between Tony’s family and Ray’s gang.

A fotografia em questão é esta e podem ler mais sobre ela aqui.


James Baldwin - Untitled


              when you send the rain

              think about it, please,

              a little?


              not get carried away

              by the sound of falling water,

              the marvelous light

              on the falling water.


              am beneath that water.

              It falls with great force

              and the light


              me to the light.