NOV 15 AND NOV 18 | 22H00 | PASSOS MANUEL
Regina Guimarães, aka Corbe, was born in Porto in 1957. Along with her poems, published in rare editions of a confidential nature, she has developed work in the areas of Theater, Translation, Song, Dramaturgy, Education for Art, Criticism, Video, Argument, Production. She was a lecturer at FLUP, ESMAE and ESAD. She was director of the film magazine A Grande Ilusão, president and founder of the Os Filhos de Lumière Association, programmer of the permanent cycle O Sabor do Cinema in the Serralves Museum. She joined the group that, along with other reflection and creation activities, published the newspaper PREC. She is co-founder of Centro Mário Dionísio - Casa da Achada. With Ana Deus, she founded the band Três Tristes Tigres. She worked for other bands, namely Osso Vaidoso and Clã. She performed countless experiences around the word said and sung. She organizes, for eight years to this part, LEITURA FURIOSA Porto, meetings between writers and people angry with reading. She has directed writing workshops (almost 90 works, some of which are in partnership with Saguenail) and film tutoring. She has directed an extensive videographic work in the form of "Cadernos", which has been the subject of some retrospectives. She aspires to be everywhere where there is a fair fight to fight. She lives and works with Saguenail since 1975. Hélastre is the sign of their common work.
"Living daily with the restlessness of Saguenail, an image-maker, living with him the adventure of this creation led me to wish, in a very different way from his practice, to film and edit naive images that would be an extension of my writing work: album, letter, message, pray, refrain. The drawer. The dark of the pantry, the dust of the attic, the mold of the basement. The far bottom of the yard.
First it was all done with great aids and small clandestinities. Then I lost my shame and took the camara myself. The game of hide-show of framing, part-as-whole passion did the rest of my shooting. Filming has been to me learning to see. Editing has been to me the knowledge of what remains between in spite of continuity. Look at failure with failing eyes.
The five senses are vowed to a work of perpetual reconstitution. If to feel is to make memory, my notebooks want to be little laboratories of remenbrance. There is in them the force of that which disappears without leaving with the tail between the legs and yet can sometimes fall into our arms when the light of the eyes lights up.
I shot my city, my street, my family. Especially the extended family of what is familiar to me or what becomes familiar because it was filmed. But attention: domestic but not domesticated.
Images, beings, things and landscapes will disappear in noncoinciding times. Could I capture and share this incoincidence surrounded by hope on all sides..."
Regina Guimarães (August 2017)
(1989 | 8’10”)
Around the Fado of Samaritana, sung, in off, by a very pregnant nun, city writings are articulated: joys and nauseas, singsongs and rigmaroles. Is there an earthquake that shakes us?
(1996 | 7’10”)
A transgenerational meta-Europe, with a greedy smile in the mouth, a mirror in the belly and a piano in the tail.
(2001 | 8’30”)
A procession in the village from which a mythology of childhood was established. A visit to the river where once the body rejoiced. A return to the city where signs of restlessness accumulate.
(2007 | 12’)
Olive trees like old ladies, cork-oaks like stout young men marked with irons. TRUNK AND NUDE is an attempt to record the alentejan kaleidoscope, a panting musical suite.
(2010 | 10’20”)
Filmed mainly in Ljubljana, MINOR BEARS tells the story of the beautiful Urska that the river uninterruptedly brings and brings back to life.
(2014 | 19’40”)
Between the painting of a city scene, in the room of Theatro Circo de Braga under renovation works, and a surrealistic game of divination where the figure of Socrates is summoned through the description of a singular polis, between old Paris, dear to Baudelaire, and the city reorganized to obstruct insurrections, two chandeliers and little more ...
(2013 | 35’10”)
Filmed in Provence, LUZ is a conversation and meditation with SAGUENAIL about his LA REVOYURE film. In LUZ, images not used by Saguenail are used.
(2000 | 3’)
At the Table (1 & 2) is a diptych in which, in addition to a kinetic reverie, it fixes the suffering gaze of the declining Father and the inquiring gaze of the growing Daughter. Between one and another, dark rivers flow.
(2010 | 31’)
In Porto, the backs are more naive and hopelessly lived than the facades. Places where one has lived too much and for this reason can be forgotten. Or go unnoticed.
(2013 | 29’40”)
Third panel of a triptych that includes CASA-MÃE, NATUREZA-MORTA and DEAD ANGLE, SMALL THEATER OF STREET is a reflection on the peculiar way as Porto is staged in the windows of the heart of the city and also a rambling around what they reflect ...
(2010 | 25'50")
After a visitation of the story of the nude in painting, two old lovers commit this film at four hands in which they exchange images of one another. The two-dimensional representation shaken by Cubist deconstruction dialogues with volumes of flesh and light.