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C.R.I.M.

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1950-009 Lisboa

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CORRESPONDÊNCIAS

Press Review

"Who is still filming like this? A text (any text) on a great filmmaker is always incomplete. Because everything we say is only one characteristic among many others that escape us. But our task is just that: to try different approaches and attempt rationalization on that which resists it."

Sérgio Alpendre in Revista Interlúdio

 

 

"At some point, the film itself was guiding me because I started editing when I had not yet half of the material filmed. While editing if I found that some shot wasn’t right I would go back to the place a handful of times until I got exactly what I wanted. However, the destination of all this was not as important as the atmosphere. I felt that this film was creating correspondences between those who were making it, as we're all seemingly speaking of the same things. Because Sophia and Sena speak, above all, about us and about the things that happen in the World. The letters, this epistolary conversation between them is a twenty-year long conversation. And I thought it might be a cinematic dialogue as well."

Rita Azevedo Gomes in interview with Jorge Mourinha for Público

 

 

"With an honesty that characterizes all great filmmakers, subtracting one’s own importance but finding ways to convey with great simplicity the essence of one’s work, Rita continued revealing her wanderings."
Antonio M. Arenas in Revista Magnolia

 

 

"In Azevedo’s films, as in Portuguese cinema, one senses countless praise worthy aspirations. An unhurried time in which growth occurs to the rhythm of well-spoken and better-written words."

Miguel Maestro in Nos Hacemos un Cine

 

 

"Rita Azevedo takes from poetry its greatest beauty, this way of writing where words suddenly appear before us embellished. Ad to the friends in the film, who also appear more beautiful than ever (in Rita’s films we have great actores, but also great “friendactors”). Especially because these friends, who come a little from everywhere (France, italy, Greece, Portugal, England) and communicate all along the film through mysterious strings, end up creating a new fatherland made of all languages, a new cutkure, a new country (in sum: a true family) made of love and friendship."

Fernando Ganzo in Avec le Temps

 

 

"The gesture in Rita Azevedo Gomes is the use of the poetic verse not as a means to embroider on an image but to ennoble it as a protagonist-like visual narrative out of space and time. Poetry becomes meaningful when it is read. And even the past ceases to exist to become an eternal present permeated with memory resonances."

Mariella Lazzarin in Specchioscuro

 

 

"Rita Azevedo Gomes offers us a moment of resort and quiet benevolence. The Portuguese cinema of the late 40 years is a fragile miracle, therefore in permanent renewal; free of pretense, the director writes on a new page."

Nathan Letoré in MediaPart

 

 

"It’s a tumultuous film, composed, broad, made of secular fragments and bits of life, where words cross through bodies, voices and multiple spaces, where images are taken, retaken, filmed again and again, modified, placed in changing settings. Their common stream actually accompanies the barely conceivable thought of the release of pain in both ways. The devastating pain that is released on us and the pain that is postponed and defeated. Outburst and restraint draw on the same line where cinema and writing find the conditions of a new alliance, intense and fragile as a transatlantic correspondence."

Luc Chessel in Liberation

 

 

"The contrast between the artificial will, the subtlety of formulations and what the woman and the man formulate in processes and changes in society, find an echo in our world, which is tending towards ideological and sentimental bipolarity."
Michael Sennhauser in FilmBlog

 

 

"How does one give a face to poetry? How does one create a dialogue between word and image? Instead of weaving a web of references that would have impoverished the images leading them to destruction, Rita Azevedo Gomes takes to a bold visual experimentation. The images, a kind of collage between archival documents, tableaux vivants and everyday life, make words palpable without imitation. Correspondências plays on a multitude of textures, of feelings, on a multi-sensorial instinct born from a filmmaker able to believe... in her instincts. (...) A dive in the past that helps us better understand the present, which is certainly frightening but with which it is necessary to settle accounts, as quickly as possible."
Giorgia Del Don in Cineuropa

 

 

"Life would be the struggle of images that do not want to die." What better epitaph for a film that not only does not want to die, but that seems to dream of the resurrection of humanity and its ancient greatness?"

Francesco Boille in Internazionale

 

 

"The result of this movie is truly remarkable, not only because it gives us an amazing insight into the condition of exile but also, and especially so, because it manages to win one of the hardest bets in cinema: that of putting literature in images."
Pietro Bianchi in Cineforum

 

 

"Because if the almost radical contrast of formats in Correspondências feels harmonious, it is due to the deep respect towards its raw material, the word."
Antonio M. Arenas in Revista Magnolia

 

 

"And then the editing of the film is itself part of the film as if to indicate the experience of poetry as an integral part of the poem."
Nicola Settis in Cinelapsus 

 

 

"An arduous, demanding, extreme, radical, experimental film, Correspondências is overwhelmingly beautiful and always fascinating.

An elegy full of meaning. An essay built with patience, love and talent."
Diego Batlle in OtrosCines

 

 

"The meticulous and melancholic selection of images engenders a rapturous poem about human tragedy worthy of clinching the Golden Leopard, the top prize of the festival."
Carlota Moseguí in OtrosCines

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