A Trama E O Circulo, A Trama E O Circulo

What could make for a theoretical yet enjoyable movie? A film that attempts to subject the organization of all the tangible elements that constitute the film (images, frame rate, colour, sound, etc.) to an explicitly self-refl exive and glorious aim (as is said of Christs in glory). Not to make one think this or that, nor to formulate hypotheses or moralize, but to highlight the tangible, physical and material content of the constituents of each passing second on the screen. This is partly, as we know, the ambition of the so-called experimental cinema with its rigour and harshness. It is, perhaps, a risky bet by the young Mariana Caló and Francisco Queimadela; it is in any case the result. A film that is not afraid to wander (and the viewer with it) within the tight laces of its mesh, which plays with the «circle» and the guarantee of its self-sufficiency to break it as well, and lead it to connect to elements as varied as wrestlers, a dish of crème brulée, the pressure of a foot on a rope, a potter’s wheel, etc. To connect with the world of labour, as if it had always been about that. (JPR)