#cláudia varejão

[gael-garcia]

Wolf and Dog (2022 🇵🇹), dir. Cláudia Varejão

[thinkingimages]

Cláudia Varejão, 2016 Portugal/Switzerland Japanese with English subtitles 113 minutes

Cláudia Varejão’s intimate documentary focuses on women living in a small town off of Japan’s Shima Peninsula who have carried on the 2,000-year-old tradition of diving for pearls, sea urchins, and abalone. Challenging notions of how Japanese females are supposed to behave, the Ama (“sea women”) dive without scuba gear or oxygen tanks, wearing minimal protection. Like the Ama probing the ocean’s depths, Varejão’s camera examines the minutiae of the women’s day-to-day existence: their hair curlers, the sea salt clinging to their skin, and assorted daily feminine tasks that are all too often taken for granted. Winner of best Portuguese documentary at DocLisboa.

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Ama-San review – a deep dive into Japan's fisherwomen culture

Ama-San: Diving into the abyss of femininity - Cineuropa

[esqrever]

Lobo e Cão - o filme queer português que se quer (ou que eu queria)

Há um momento no filme “Lobo e Cão” em que Ana, a protagonista, pergunta ao padre da sua paróquia: “É pecado querer?” Lobo e Cão - o filme queer português que se quer (ou que eu queria) 🎬🌈 - a opinião de Ana Vicente.

Há um momento no filme “Lobo e Cão” em que Ana, a protagonista, pergunta ao padre da sua paróquia: “É pecado querer?” Com esta pergunta, lança-se a centelha para iluminar aquela personagem e também a nossa passagem por este filme e por estas vidas. Somos testemunhas de um querer inquieto, desalinhado, reprimido, mas imparável. Um querer sexual, amoroso, identitário, estético, mas também um…

[animalsisawinmovies]

dog and wolf 🐶🐺

from 𝘸𝘰𝘭𝘧 𝘢𝘯𝘥 𝘥𝘰𝘨 (2022)

dir. cláudia varejão

Instagram Letterboxd

[letontoncinephile]

Lobo e cão - Loup et chien (Claudia Varejão, 2022)

Cette beauté arrive bientôt (12 avril) dans les salles françaises ! Tenez-vous prêts ! 🌊🐋@EpicentreFilms #LoupEtChien #LoboECão #ClaudiaVarejão #WolfAndDog @TerratremeFilms #cinemaportuguês pic.twitter.com/GAqrNRSrSs— Le tonton Cinéphile (@TontonCinephile) March 31, 2023

[thetravelerdiary]

Beautiful 💖

Wolf and Dog (Lobo e Cão), Cláudia Varejão (2022)

[lezkissgifs]

Lobo e Cão (2022) dir. Cláudia Varejão

[generallynaive]

O Melhor de 2022 - 25 Filmes

1. Drive My Car Ryusuke Hamaguchi

2. After Yang Kogonada

3. Lobo e Cão Cláudia Varejão

4. The Worst Person in the World Joachim Trier

5. Petite Maman Céline Sciamma

6. Decision to Leave Park Chan-wook

7. Everything Everywhere All At Once Daniel Kwan & Daniel Scheinert

8. The Fabelmans Steven Spielberg

9. L'Événement Audrey Diwan

10. Moonage Daydream Brett Morgen

11. Licorice Pizza Paul Thomas Anderson

12. Hit the Road Panah Panahi

13. Alma Viva Cristèle Alves Meira

14. Flee Jonas Poher Rasmussen

15. Fogo Fátuo João Pedro Rodrigues

16. Alcarrás Carla Simón

17. Crimes of the Future David Cronenberg

18. C’mon C’mon Mike Mills

19. Un Beau Matin Mia Hansen-Løve

20. Kimi Steven Soderbergh

21. Nope Jordan Peele

22. She Said Maria Schrader

23. Serre Moi Fort Mathieu Amalric

24. Apollo 10 1/2 Richard Linklater

25. The Batman Matt Reeves

----- O Melhor de 2022

º Álbuns º Séries TV

[eohachu]

movie log.

week 22/2024

watched:

02.06.2024 Snowpiercer (2013), dir. Bong Joon-ho

rewatched:

n/a

new on my watchlist:

Crossing (2024), dir. Levan Akın

Die Konsequenz (1977), aka The Consequence, dir. Wolfgang Petersen

Faustrecht der Freiheit (1975), aka Fox and His Friends, dir. Rainer Werner Fassbinder

Fogo-Fátuo (2022), aka Will-o´-the-Wisp, dir. João Pedro Rodrigues

Lobo e Cão (2022), aka Wolf and Dog, dir. Cláudia Varejão

next up:

Spirit: Stallion of the Cimarron (2002), dir. Kelly Asbury, Lorna Cook (rewatch)

My Own Private Idaho (1991), dir. Gus Van Sant

[hiddnthings]

some things you may consider doing if i went missing, part. 1

watch these very peculiar movies (in a tiny cinema, with few to no people in the room, maybe in a slightly daze-like state) - Twelve Angry Men, 1957 (Sidney Lumet) - La Jetée, 1962 (Chris Marker) - Pierrot le Fou, 1965 (Jean-Luc Godard) - Throw Away Your Books (...), 1971 (Shūji Terayama) - Serpico, 1973 (Sidney Lumet) - Killer of Sheep, 1978 (Charles Burnett) - Stalker, 1979 (Andrei Tarkovsky) - Apocalypse Now (Francis Ford Coppola) - Blade Runner, 1982 (Ridley Scott) - Akira, 1988 (Katsuhiro Otomo) - Nocturne Indien, 1989 (Alain Corneau) - Fallen Angels, 1995 (Wong Kar-wai) - Ghost In The Shell, 1995 (Mamoru Oshii) - Gummo, 1997 (Harmony Korine) - Duvidha, 1999 (Mani Kaul) - Karisuma, 1999 (Kiyoshi Kurosawa) - In The Mood For Love, 2000 (Wong Kar-wai) - Downtown 81, 2001 (Edo Bertoglio) - Ocean's Eleven, 2001 (Steven Soderbergh) - Lost In Translation, 2003 (Sofia Coppola) - Collateral, 2004 (Michael Mann) - The Limits of Control, 2009 (Jim Jarmusch) - Detachment, 2011 (Tony Kaye) - Tales from the Loop, 2020 (Nathaniel Halpern) - The Green Knight, 2021 (David Lowery) - Lobo e Cão, 2022 (Cláudia Varejão) - Pacifiction, 2022 (Albert Serra)

This post is an (infinite) WIP.

[admiredphotographers]

From the Diary of Cláudia Varejão.

[bistovri]

No Escuro do Cinema Descalço os Sapatos (2016), dir. Cláudia Varejão

[undiaungato]

*

“A dive, the midday sunlight filtering down through the water. The air in her lungs has to last until she can dislodge the abalone from the rocks at the bottom of the Pacific Ocean and finally resurface to breathe again. Without the help of a dive cylinder or any other apparatus to enhance her ability to stay underwater, her whole body is pushed to the limit. Dives like these have been carried out in Japan for over 2000 years by the Ama-San, which literally means - women of the sea. These women, who occupy a special place in Japanese culture, are at the same time revered and misunderstood. 

海に潜ると、午時の光が垂直に差し込んでくる。肺にためた空気は太平洋の海の底に沈む岩にはりついたアワビを取り、海面に顔を出してまた息ができるようになるまで保たせなければならない。酸素ボンベもなければ、その他の水中で動くために使ういかなる道具もない。ただ限界まで自らの肉体を使うのみである。こうした素潜りは日本で2000年以上前から海女たちの間で受け継がれている。文字通り、海の女たちだ。彼女たちは日本の文化においては特別な位置づけをされ尊ばれているが、同時にまた多くの誤解も受けている。

The Ama-San have earned their status as collectors and guardians. What they do, calls into question not only the traditional role of women in oriental society, but also the very nature of femininity itself. This film follows the everyday lives of three women of different ages who, for 30 years, have dived together in the sea around a small fishing village on the Shima peninsular. Shot between the silent, underwater world and rural life on land, this film is a unique portrait of a tradition that is not expected to survive much longer. On the whole, the women who still dive today are between 50 and 85 years old”.

海女は、漁師として、また海の番人としての役割を確立しており、西洋社会における伝統的な女性の役割だけでなく、女性性そのものにも疑問を投げかける。本作では志摩半島の小さな漁村に住み30年以上一緒に潜っているという年配の女性3人の日常を追った。水面下の静寂の中で、そして田舎の村での生活の中でカメラを回し、永年受け継がれてきた伝統とともに暮らす人々の姿を浮き彫りにした。昨今、現役で潜る女性の年齢はほぼ50歳から85歳が平均的だという。

source: http://claudiavarejao.com/ama-san

[sentimentoapocalyptico]

Amor Fati (2020) Cláudia Varejão

http://www.terratreme.pt/projects/amor-fati

[imagememovimento]

AMA-SAN | ★ ★ ★ ½ #108 | Cláudia Varejão, 2016

"Um mergulho, a luz do sol do meio-dia se filtrando pela água. O ar em seus pulmões tem que durar até que ela possa desalojar o abalone. Mergulhos como estes foram realizados no Japão por mais de 2000 anos pela Ama-San."

Entre as conversas prosaicas do dia-a-dia, mulheres jovens e senhoras de idade avançada, praticam o mergulho sem auxílio de equipamento. São as Ama-San, elas procuram manter a tradição milenar da pesca de ostras, pérolas e algas. São justamente essas cenas que mais chamam atenção.

Visto no Cinema São Luiz em 31 de março. // I saw in the Cinema São Luiz on Mar 31, 2019.

[irrepat]

Ama-san (2016) dir. Cláudia Varejão