CORAÇÃO AO RITMO DA TERRA

Some things manifest so blatantly that we no longer notice them, and they go unnoticed until they become untenable. Like in Christian Petzold's film 'Céu em Chamas', where the director masterfully talks about things without mentioning them, or in Ryûsuke Hamaguchi's 'Evil Doesn't Exist', where this great director tells the story in detail, from a small but expressive gesture, so full of depth that it unsettles (a gesture that subsumes touristification, cultural appropriation, the feeling of superiority of the urban over the rural, an extractive relationship with nature).

In contrast to this not seeing and not feeling, in 'A Flor do Buriti' by João Salaviza and Renée Nader Messora, in '20.00 Espécies de Abelhas' by Estibaliz Urresola Solaguren and in 'A Irmandade da Sauna' by Anna Hints, there is a different and more harmonious relationship with the living, where ancestral practices and knowledge are emphasised. "O Rapaz e a Garça" hinges between denunciation and a more propositional stance. This film is a letter (in the future posthumous, for when he dies) from the great Japanese animation maestro Hayao Miyazaki to his grandson, a love letter conveying his deep concerns about wars and how we inhabit the world, or rather, worlds.

* The title of this text comes from a passage in Ailton Krenak's book "Futuro Ancestral".


Candela Varas