Wang Yuyan

Just before the launch of artificial moons, a retired couple finds their harbor in the fading darkness. Trying to catch up with the pace of modernity, their daily life traces this forthcoming brightness back to its earthly origins.

A spell breaking, Quebrante traverses the caves, ruins and phantasmagorias of the Transamazon BR230 Highway, portraying its stones and its ghosts. Set in tiny Rurópolis, the very first town ever built on the road, Quebrante follows Ms. Erismar, a retired elementary school teacher known in the region as The Cave Woman.

Filmed in Amazonas in 2021, on Estrada Fantasma BR-319, Transamazônica BR-230 and in the real city of Realidade, “Curupira and the Machine of Destiny” documents the encounter in the present time between a curupira and the incarnate ghost of Iracema, a character in the movie “Iracema – an amazon sex”. Open as wounds during the civic-military dictatorship that entangled Brazil in the cries of order and progress, the asphalt rebars that crisscross the country were built, destroyed and are now drowning in a process of reconstruction. Warm ruins of an addicted future. In love, Iracema ghost sets off at the crossroads of the straight roads of the Amazon to find Curupira and avenge the future.

Um universo virtual 3D, simulado por um motor de jogo alimentado com fotos históricas, permite experimentar um momento perdido da história.

As gripping organs, intimately linked to actions, the hands shake, shake, grasp or tear in an infinite round of expressive attitudes extracted from their context. This hypnotic breviary is a reminder that hands cannot remain inert and that they act without the control of the person to whom they belong.

Se você não quer se afogar, seja um oceano.

Se você não quer se afogar, seja um oceano.

A man, that animal which shapes its environment, which also shapes its brain. A fog, a bit harder than the air – the dust of stones. A hexagonal structure, like a monolith of which one dare not ask questions. Two hundred kilometres from Beijing I found a sculpture factory where men lived amidst rocks that were waiting to be broken, cut, polished. The same gestures come back again and again to write a history of deterioration and repair. This history is obliterated in the making of monuments. With the wind that inexorably scatters the traces of these actions.

A man, that animal which shapes its environment, which also shapes its brain. A fog, a bit harder than the air – the dust of stones. A hexagonal structure, like a monolith of which one dare not ask questions. Two hundred kilometres from Beijing I found a sculpture factory where men lived amidst rocks that were waiting to be broken, cut, polished. The same gestures come back again and again to write a history of deterioration and repair. This history is obliterated in the making of monuments. With the wind that inexorably scatters the traces of these actions.

A man, that animal which shapes its environment, which also shapes its brain. A fog, a bit harder than the air – the dust of stones. A hexagonal structure, like a monolith of which one dare not ask questions. Two hundred kilometres from Beijing I found a sculpture factory where men lived amidst rocks that were waiting to be broken, cut, polished. The same gestures come back again and again to write a history of deterioration and repair. This history is obliterated in the making of monuments. With the wind that inexorably scatters the traces of these actions.

Film by Lola Gonzalez.