September 22, 2021

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Aly Muritiba in ‘Private Desert’ at Biennale’s Giornate Degli Autori

4 min read

After San Sebastian’s films moved forward with its second feature, “Rust” (2018) and quickly assimilated as one of Brazil’s emerging geniuses-the country of many talented young filmmakers ly ly Ali Muritiba came to Venice’s Biennale with his latest film, “Private Desert.” (“Deserto Particular”), will appear in his Giornate degli Autori.

It’s a heartbreaking love story in which the director reassures control over his craft. Co-produced by Grafo Audiovisual and Fado Films, the film follows Daniel, starring Antonio Saboya. He is a policeman who, after being released due to violent behavior, crosses the country in search of his online love who has suddenly disappeared.

Then there’s a subtle story that widens Daniel’s horizons and puts his girlfriend Sarah under a blazing sun.

With the help of cinematographer Luis Armando Artega (“Ixcanul Volcano,” 2015), the glittering camerawork of the sculpture beautifully creates a love story. The art instructions of Fabíola Bonofiglio and Marcos Pedroso pack the screen with beautiful pictures full of color and depth. Will be distributed by Intra Movies.

Diversity Muritibar was speaking just before the screening of his film at the Giornate Degli Autori in La Beanale on Tuesday.

Because of the latitude, films shot in the tropics always have to handle a bright sun that often gives the images a certain look. This is not the case with your film, which features a rich cinematography filled with colorful and deep shadows. What was the process with Luis Armando Artegar, Achieving it?

When I decided to make this movie it was important to look at my country and find a kind of feeling, personality and image. As the main character in my movie, I am from the north, I am from Bahia, I was born there, but I live in the south of Brazil. Both parts are completely different in terms of weather, color and human behavior. And when I invited Artega to make this movie with me, I told her, “You have to come to Brazil a few weeks ago because you have to feel the hot sun, your skin, the bright colors of Bahia and the green, cold and dark. Could get south. ”We talked about light, about the position of the sun, and we started talking about the shadows we felt in our films.

Your camera has rarely improved, it rarely moves, and it never pays attention to itself. Yet it always finds dynamism and expresses emotion through very subtle changes. What was your guiding principle when defining camera movement?

The most important thing for us is character. So the camera moves according to his feelings: if he is calm we can stay still and if he is anxious then it is normal to use hands. It was always a three-way job, every time we set a scene we discussed in Artega, Antonio [Saboia] And that’s exactly how the character felt. Finding out how Daniel felt in each scene, how to frame him and how to move with him, and it was a collective effort that turned into a constant conversation through shooting. The result was a gradual transition from Daniel’s still life to a hand-held camera that eventually followed him.

Both the police force and masculinity are now deeply in question. In addition, the image of a police officer in Latin America is increasingly associated with a victim. Yet the film draws a colorful spectrum of masculinity, adding shadows and shadows to just one character who is a cop. Can you comment?

It’s a matter very close to my heart, because I’ve worked as a prison guard for seven years and recently closed. I was still finishing film school during the day and talking to both the guard and the prisoner in the evening. I had very close contact with people working in the judiciary. Whenever many film classmates knew I was a watchman, they began to think I was abusive. But I’m not the only one. I can be much more: I am also a student, I also write poetry, I can feel a lot. And so when making this film it was clear to me that I wanted to tell a love story in a country that is at war, torn in its own conflict and led by a man like Bolsonaro. I thought if this love story could be felt by a policeman, not a film school student or artist, who discovers that he can love, even for a day or a week, another man, then it could be a great success.

Can you talk about the role of virtual communication in the film?

I have a kind of obsession with virtual communication. I think it’s an incredible and amazing tool that can have such devastating consequences. This love story could never have happened without these new technologies that allow us to talk and see each other in two different countries. Of course the problem is not the tool but how we use it. “Feruzem” (“Rusty,” 2018) can lead a teenage girl to suicide, and “In the Private Desert” it can make Danielle fall in love with someone she probably won’t meet. I find it very interesting how these tools can lead us, become new narrative tools and be used beautifully and then I am constantly reminded that our current president has won the election using most of these tools wisely.

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