2020 foi o que foi e talvez ainda não tenha passado tempo suficiente para percebermos o que isso é e, mais importante ainda, o que será. Com todas as dificuldades, barreiras, esforços, lutas e outra vez dificuldades, foi um ano em que vi, li, ouvi coisas excecionais.
Também foi um ano em reli e revi sagas para conforto próprio e, é claro, ouvi de novo discos que volto sempre a ouvir, mas isso não entra aqui. Tenho saudades de ir a concertos e não há nenhum nesta lista. Não é tudo deste ano, mas foi neste ano que cheguei ao que aqui está e foi neste ano que me ficaram na memória.
A lista não não é, obviamente, completa, mas estas foram algumas coisas de que gostei muito (está tudo por ordem alfabética):
Devs – Alex Garland
I May Destroy You – Michaela Coel
Normal People – Sally Rooney / Allice Birch / Mark O’Rowe
We Are Who We Are – Luca Guadagnino / Paolo Giordano / Francesca Manieri / Sean Conway
A Perfect Spy – John Le Carré
Agency – William Gibson
Balada para Sophie – Filipe Melo e Juan Cavia
Berlin – Jason Lutes
Cleanness – Garth Greenwell
Flights – Olga Tokarczuk
Hurricane Season – Fernanda Melchior
Piranesi – Susanna Clarke
Rusty Brown – Chris Ware
Spring / Summer – Ali Smith
The Lost Pianos of Siberia – Sophy Roberts
A Metamorfose dos Pássaros – Catarina Vasconcelos
His House – Remi Weekes
Mank – David Fincher
Martin Eden – Pietro Marcello
Never Rarely Sometimes Always – Eliza Hittman
Nomadland – Chloé Zhao
O Fim Do Mundo – Basil da Cunha
Portrait de la Jeune Fille en Feu – Céline Sciamma
Possessor – Brandon Cronenberg
Sound of Metal – Darius Marder
The Human Voice – Pedro Almodóvar
Cenizas – Nico Jaar
Debussy-Rameau – Víkingur Ólafsson
Fetch the Bolt Cutters – Fiona Apple
S. Bach: St John Passion, BWV 245 – Bach Collegium Japan & Masaaki Suzuki
Mordechai – Khruangbin
Raiashopping – David Bruno
Róisín Machine – Róisín Murphy
Rough and Rowdy Ways – Bob Dylan
The Lost Berlin Tapes – Ella Fitzgerald
Untitled (Black Is)/Untitled (Rise) – Sault
Já agora, apenas dos livros mantenho um registo anual, hábitos. Li isto (ainda ando a ler mais três, mas ficam para o ano):
Recipient of the FIPRESCI Award (Encounters 2020) by the international film critics association.
The trailer for "A Metamorfose dos pássaros" (The Metamorphosis of Birds) by Catarina Vasconcelos, starring Manuel Rosa, João Móra, Ana Vasconcelos, Henrique Vasconcelos and Inês Melo Campos.
Beatriz and Henrique fall in love and get married. He goes to sea while she raises their children. Their oldest son Jacinto is the father of Catarina Vasconcelos, who together with him brings her family history to life in this intimate and very personal film.
Oscar nominee Denis Villeneuve (“Arrival,” “Blade Runner 2049”) directs Warner Bros. Pictures and Legendary Pictures’ “Dune,” the big-screen adaptation of Frank Herbert’s seminal bestseller of the same name. A mythic and emotionally charged hero’s journey, “Dune” tells the story of Paul Atreides, a brilliant and gifted young man born into a great destiny beyond his understanding, who must travel to the most dangerous planet in the universe to ensure the future of his family and his people. As malevolent forces explode into conflict over the planet’s exclusive supply of the most precious resource in existence—a commodity capable of unlocking humanity’s greatest potential—only those who can conquer their fear will survive.The film stars Oscar nominee Timothée Chalamet (“Call Me by Your Name,” “Little Women”), Rebecca Ferguson (“Stephen King’s Doctor Sleep,” “Mission: Impossible – Fallout”), Oscar Isaac (the “Star Wars” franchise) Oscar nominee Josh Brolin (“Milk,” “Avengers: Infinity War”), Stellan Skarsgård (HBO’s “Chernobyl,” “Avengers: Age of Ultron”), Dave Bautista (the “Guardians of the Galaxy” films, “Avengers: Endgame”), Stephen McKinley Henderson (“Fences,” “Lady Bird”), Zendaya (“Spider-Man: Homecoming,” HBO’s “Euphoria”), Chang Chen (“Mr. Long,” “Crouching Tiger, Hidden Dragon”), David Dastmalchian (“Blade Runner 2049,” “The Dark Knight”), Sharon Duncan-Brewster (“Rogue One: A Star Wars Story,” Netflix’s “Sex Education”), with Oscar nominee Charlotte Rampling (“45 Years,” “Assassin’s Creed”), with Jason Momoa (“Aquaman,” HBO’s “Game of Thrones”), and Oscar winner Javier Bardem (“No Country for Old Men,” “Skyfall”). Villeneuve directed “Dune” from a screenplay he co-wrote with Jon Spaihts and Eric Roth based on the novel of the same name written by Frank Herbert. Villeneuve also produced the film with Mary Parent, Cale Boyter and Joe Caracciolo, Jr. The executive producers are Tanya Lapointe, Joshua Grode, Herbert W. Gains, Jon Spaihts, Thomas Tull, Brian Herbert, Byron Merritt and Kim Herbert. Behind the scenes, Villeneuve reteamed with two-time Oscar-nominated production designer Patrice Vermette (“Arrival,” “Sicario,” “The Young Victoria”), two-time Oscar-nominated editor Joe Walker (“Blade Runner 2049,” “Arrival,” “12 Years a Slave”), two-time Oscar-winning visual effects supervisor Paul Lambert (“First Man,” “Blade Runner 2049”), and Oscar-winning special effects supervisor Gerd Nefzer (“Blade Runner 2049”). He also collaborated for the first time with Oscar-nominated director of photography Greig Fraser (“Lion,” “Zero Dark Thirty,” “Rogue One: A Star Wars Story”); three-time Oscar-nominated costume designer Jacqueline West (“The Revenant,” “The Curious Case of Benjamin Button,” “Quills”) and co-costume designer Bob Morgan; and stunt coordinator Tom Struthers (“The Dark Knight” trilogy, “Inception”). Oscar-winning and multiple Oscar-nominated composer Hans Zimmer (“Blade Runner 2049,” “Inception,” “Gladiator,” “The Lion King”) is creating the score. Warner Bros. Pictures and Legendary Pictures Present “Dune.” The film is slated to be released in theaters on December 18, 2020.
2020: an isolation odyssey is a reenactment of the iconic finale of 2001: A Space Odyssey (Stanley Kubrick, 1968). Restaged in the context of home quarantine, the journey through time adapts to the mundane dramas of self-isolation–poking fun at the navel-gazing saga of life alone and indoors. May, 2020 lydiacambron.com
I'm a habitual self-interlocutor. One evening while taking photographs at the American Museum of Natural History, I had a near-hallucinatory vision. My internal question-and-answer session leading up to this vision went something like this: "Suppose you shoot a whole movie in a single frame? " The answer: "You get a shining screen. " Immediately I began experimenting in order to realize this vision. One afternoon I walked into a cheap cinema in the East Village with a large-format camera. As soon as the movie started, I fixed the shutter at a wide-open aperture. When the movie finished two hours later, I clicked the shutter closed. That evening I developed the film, and my vision exploded behind my eyes.
Hiroshi Sugimoto left his native Japan in 1970 to study art in Los Angeles in 1971 at a time when Minimalism and Conceptual art—both of which informed his work—dominated art practice. Inspired by the systemic aspects of Minimalist painting and sculpture, he has consistently explored several themes with rigorous seriality throughout his career.
The white screen that reappears in his Theaters series (begun in 1978) is itself the result of shooting the projection of a feature film. Photographing drive-ins, golden-age cinema palaces, and modern movie houses, he uses an exposure determined by the length of the screening. As each frame of film flickers by, the shifting action and light both cancels and accumulates until the film, shown in its entirety, is recorded as a bright, blank screen, appearing empty of imagery while actually filled to overflowing. Sugimoto calls this “time exposed”—the collecting, in one still image, of moments passed.
"The Flying Train" depicts a ride on a suspended railway in Germany in 1902. The footage is almost as impressive as the feat of engineering it captures. For many years our curators believed our Mutoscope rolls were slightly shrunken 70mm film, but they were actually shot on Biograph’s proprietary 68mm stock. Formats like Biograph’s 68mm and Fox’s 70mm Grandeur are of particular interest to researchers visiting the Film Study Center because the large image area affords stunning visual clarity and quality, especially compared to the more standard 35mm or 16mm stocks.