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The shot/reverse shot technique appears as a central issue in my installations. In Curto-circuito (1979, 35-millimeter film), a man (Joel Barcelos was a film actor and director who worked with great directors such as Glauber Rocha, Júlio Bressane, Ruy Guerra, and Bernardo Bertolucci) is fleeing and no one knows why. Sometimes he does so on foot, other times by car. There is a mood of oppression in the air (we were living under dictatorship). The film does not have a reverse shot and therefore we cannot see whether there is someone chasing him. In an installation-style version, two images are projected in loop (2007, Modern Art Museum, Rio de Janeiro). On one of the screens, the man is seen running away on foot and on the other, by car. There are, however, two passage shots: he comes running and enters the car; he stops the car and runs off. These shots are used to create a double-face loop installation. While the man runs away on foot on the shot screen, he runs away by car on the left screen, and, at a given time, everything is reversed. Then, on the shot screen he is going into the car and, on the reverse shot screen, he is leaving the car. This alternation enables one to bring about a situation in which the man seems to be fleeing from himself, in a sort of circular Cortázar-style work.

EXHIBITIONS:

Situacão Cinema. Curadoria de Fernando Cocchiarale e Franz Manatta, MAM, Rio de Janeiro, 2007.
Filmes de Artista. Curadoria de Fernando Cocchiarale, Oi Futuro, Rio de Janeiro, 2007.

CREDITS:

Script, Edition, Direction: André Parente
Actor: Joel Barcelos
Photography: Flávio Ferreira
Music: Miles Davis
Production: Corcina Ltda

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TEXT: Cinema in Reverse Shot