#joao pedro rodrigues

[bug-gin]

Will-O'-the-Wisp dir. Joao Pedro Rodrigues

[pierppasolini]

O Ornitólogo (2016) // dir. João Pedro Rodrigues

[frnndlcs]

O Fantasma, João Pedro Rodrigues, 2000

[dare-g]

Will-o'-the-Wisp (2022)

[pacingmusings]

Seen in 2023:

To Die Like a Man (Joao Pedro Rodrigues), 2009

[leyanealine]

setembro amarelo

o setembro amarelo foi criado para ajudar melhorar a vidas das pessoas a nao se suicidaram nao se sentirem sozinhos ajudar no seu psicologico ajudar a melhorar de vida e nao setivaram as pessoas a nao tirar suas vidas

joao pedro rodrigues aquino

[garethllane]

FILM LOG || February 2024

★★★★★ - Holy Mountain, Alejandro Jodorowsky (1973) ★★★★★ - The Garden, Derek Jarmam (1990) ★★★★☆ - Thundercrack!, Curt McDowell (1975) ★★★★☆ - Taxi zum Klo, Frank Ripploh (1980) ★★★★☆ - Desperate Living, John Waters (1977) ★★★★☆ - Fox and His Friends, Rainer Werner Fassbinder (1975) ★★★★☆ - Confessions, Curt McDowell (1972) ★★★★☆ - Cabaret, Bob Fosse (1972) ★★★★☆ - Mysterious Skin, Gregg Araki (2004) ★★★★☆ - Crimewave, John Paizs (1985) ★★★★☆ - Please, Baby Please, Amanda Kramer (2022) ★★★★☆ - Bottoms, Emma Seligman (2023) ★★★★☆ - Caravaggio, Derek Jarman (1986) ★★★☆☆ - Loads, Curt McDowell (1980) ★★★☆☆ - Sparkle's Tavern, Curt McDowell (1985) ★★★☆☆ - What's Love, Bill Cable (1987) ★★★☆☆ - A Coupla White Faggots, Michael Auder (1981) ★★★☆☆ - Mucho Ado About Nothing, Kenneth Branagh (1993) ★★★☆☆ - They Live, John Carpenter (1988) ★★★☆☆ - Eastern Promises, David Cronenberg (2007) ★★★☆☆ - My Best Friend Is A Vampire, Jimmy Huston (1987) ★★★☆☆ - The Fluffer, Richard Glatzer (2001) ★★☆☆☆ - Frisk, Todd Verow (1995) ★★☆☆☆ - Fun, Rafal Zielinski (1994) ★★☆☆☆ - Drive, He Said, Jack Nicholson (1971) ★★☆☆☆ - Desperate Teenage Love Dolls, David Markey (1984) ★★☆☆☆ - The Wounded Man, Patrice Chereau (1983) ★★☆☆☆ - Blaze Starr Goes Nudist, Doris Wishman (1962) ★★☆☆☆ - Mod Fuck Explosion, Jon Moritsugu (1994) ★★☆☆☆ - Head On, Ana Kokkinos (1998) ★★☆☆☆ - O Fantasma, Joao Pedro Rodrigues (2000)

[27timescinema]

MASTERCLASS – JOAO PEDRO RODRIGUES

By Joonas Lass (EE) // Photos © Klaas Mertens (BE)

After meeting with MEPs on September 2, it was time for a masterclass session with director Joao Pedro Rodrigues, who also happens to be the head of the jury of Giornate degli Autori this year.

Starting off with an inquiry about the jury, Rodrigues expresses his initial positive emotions about the first jury meeting and feels it’s going fine for now. Soon enough, we get into his history as a filmmaker.

He mentions he has always been interested in paintings and observing his surroundings, first finding his roots in going to the forest and watching birds with the binoculars his father gave him at age 8. Paintings have been a learning point for him in the sense of being able to tell a story with just one image. As both his parents have worked in science, he tried studying biology but soon enough understood that wasn’t it and corrected his course to film school, studying under Portuguese New Wave filmmakers. With the Portuguese New Wave being quite a radical bunch, Joao Pedro himself feels pride in his experimental attitude towards every new movie he makes, trying to incorporate something he hasn’t tried yet into every new feature, saying ‘In order to make new stuff, you have to know the past’. He brings up a great example of using drones (which he usually hates) to film a literal bird's-eye view for one of his films.

I was also glad to hear of Mon Oncle (Jacques Tati, 1958) as one of his inspirations because it focusses more on visual comedy and steers away from dialogue as much as possible. Jacques Tati is definitely a visionary in that sense, and I was very glad to hear someone such as Joao Pedro shares my love for that particular film.

Rodrigues goes on to talk about his first film, which the press was supposedly really harsh on. He concludes that he couldn’t make his first film today due to increasing morality over the years in the film industry. Relating to that is definitely nudity and sex, which have always been a part of his films. He feels that using nudity is necessary due to the lack of sex in cinema, since it’s such a natural part of our lives as human beings. When asked about his struggles, he seems quite clear on the fact that he never knows what’s going to come next in terms of features. Recently, though, he has started to try to narrow the usual 4-year gap between his films and think ahead.

Certainly one of the most engaging parts of the talk was Rodrigues’ story about going to the first queer film festival in Kyiv and having his film screened there – recognizing the still-rampant homophobia present in the Eastern European region which I am fairly familiar with, being from Estonia. Since the war is still actively on in Ukraine, Rodrigues’ obtained the experience of an air raid occurring during the screening of his film. The surprising part was that the film was nicely played out to the end with the air raid going on, since there was about five minutes left. That definitely created an unmistakable aura in the room for a moment – no one else in the room has probably experienced anything like this. He goes on to mention another air raid that took place a couple of days later, a Russian missile getting intercepted but still sadly killing 3 people and injuring many more.

Moving on to the Q&A part of the masterclass, there were a lot of interesting questions popping up in the room. My personal favourite was about small screens taking over priority over cinema screens, because Rodrigues had a very clear and concise answer (which also seems fitting to end this blog with): 'A good film will resist the modern small screen'.

[lafiguraentutapiz]

Morrer Como Um Homem. João Pedro Rodrigues. 2009

[agnesvarda]

“O Fantasma”, directed by João Pedro Rodrigues, 2000.

[pierppasolini]

Fogo-Fátuo (2022) // dir. João Pedro Rodrigues

[frnndlcs]

O Fantasma, João Pedro Rodrigues, 2000

[dare-g]

O Fantasma (2000)

[pacingmusings]

Seen in 2023:

Will-O’-the-Wisp (Joao Pedro Rodrigues), 2022

[itsonrepeat]

The Ornithologist / João Pedro Rodrigues / 2016