Directed by João Pedro Vale & Nuno Alexandre Ferreira Performance by Aurora Pinho Production Design by João Pedro Vale & Nuno Alexandre Ferreira Edited by Francisco Costa Production by Moullinex and GOD Post Production by Rui Clara Gomes Make Up by Jorge Bragada Thank you: Teresa, Daniel, Bruno, Lydie, Joana, Tiago, Kiki, Kikas / Teatro Praga
Filmed with a smartphone.
Once we fully accept who we are, how much does external acceptance still matter? João Pedro Vale and Nuno Alexandre Ferreira believe in pushing the limits to find out. In order to work one’s s**t out, one must be defied to move past acceptance, onto understanding. To do so they invited Aurora Pinho, a transgender performer from Portugal, to take matters into her own hands and wander and gentrified streets of downtown Lisbon with a mission. A quite ballsy one.
Following the footsteps of the video for “Love Love Love”, Moullinex continues to explore the space between music video and social experiment. During our daily lives we are able to move within safe pockets of inclusion, such as a nightclub or a carefully curated social network, and feel relatively safe and accepted in our echo chambers of like-minded people. But how much can we expand this bubble until we run into a radically different view from ours? The crew had their share of bigotry, homophobia and passive-aggressive remarks during the guerilla-like shooting of the video. As the song says, “these streets ain’t kind to no one”.
French documentary for TF1 television (One From The Heart: Reportage, in the studio w. Greg Cohen). Directed by Jean-Claude Arie. Los Angeles. Entrevue: Jean-Claude Arie. Entrefien: Philippe Garnier. Image: J.P. Guillemard. Son: Joe Le Guillou. Montage: A.C. Bequet. Assist Realisation: Ph. Robert. Realisation: Jean-Claude Arie. TF1 1982
Tom Waits & Crystal Gayle - 'One From The Heart' Rehearsals and Napa 'Musical Summit'.
She kept them high on the top shelf In boxes big as drums—
Bright, crescent-shaped boats With little fishnets dangling down—
And wore them with her best dress To teas, coffee parties, department stores.
What a lovely catch, my father used to say, Watching her sail off into the afternoon waters.
Turning Sixty
So this is how it must've looked, The gates to the garden Creaking shut, And both of them Standing there in late-afternoon light, Looking back, the rain pelting Down hard, the flowers Closing their shutters, The leaves already beginning to fall.
Tornado
What was amazing was not The damage so much, the barns It buckled, the livestock it left dead. Or the swath, a mile wide, It carved through the cornfields, Stalks sheared to the ground. Or even the safe, the old Mosler From the bank at Plainview, We found days later half- Buried in some back pasture. But the sight of Gustafson, Dazed but still alive, looking up Like one of the just-born, The newly blessed, his corncribs Brimming over with coins, His dry drought-stricken fields All green, lush with bills, And no sound but the broken blades Of the wind pump grinding lazily To a halt, his hogs grunting Into the sweet light of the saved.