Rodrigo Grota

“Looking back, it seems to me that our films became less and less eloquent, more sober and practically mute... Satori is like a scream, a moan at its maximum degree, a black and white opera, and that's how it was supposed to be since it was the first 35mm film by Kinoarte. Booker is already a kind of broken film, digressive, almost a note out of tone - the film chases and overlays the characters. While Haruo is a "realistic" film, a homage to Japanese cinema, the only film in which we have a concrete character and an almost narrative approach. It may be the most mature of all the Trilogy's films, because our responsibility was bigger - Haruo is the greatest visual artist in Londrina and a much cherished man for all of his family and for everyone who knew him. But I think Haruo has a deeper connection to the Trilogy in the sense that all three films were made as if they were documentaries on what we DO NOT know about the characters - usually a story is constituted of what we do know. What interested us was the opposite - to invest in what we didn't know.”