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Photo of Rodrigo Grota

Rodrigo Grota

Director

“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.… Read more
“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.” Read less