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Photo of Filipa César
“I shot the film Cacheu as a performative lecture. The piece has grown out of the narrative arc formed by the recurrence of statues as spectral appearances in several different films. Colonial representation and its persistence in the territory, as well as onscreen, seem to enact a power that is still latent in the present. To me the statues seem like deputies of an asynchronous structure left by… Read more
“I shot the film Cacheu as a performative lecture. The piece has grown out of the narrative arc formed by the recurrence of statues as spectral appearances in several different films. Colonial representation and its persistence in the territory, as well as onscreen, seem to enact a power that is still latent in the present. To me the statues seem like deputies of an asynchronous structure left by colonialism, which has morphed into other forms (such as corruption, geo-strategic politics, the drugs trade, international NGOs, or the multi-national trade in mineral resources). They are spectres of the past that become visible – animated – through the medium of film.” Read less
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Editor