Film Archive

Sections (Film Archive)

Arid Zone

Documentary Film
Brazil
2019
76 minutes
subtitles: 
English

Credits DOK Leipzig Logo

Antônio Junior, Fernanda Pessoa
Fernanda Pessoa
Pedro Santiago
Rodrigo Levy
Germano de Oliveira, Mari Moraga
Fernanda Pessoa
Daniel Turini
Mesa, Arizona, east of Phoenix and about 200 kilometres from the Mexican border, is said to be the most conservative city in the U.S. In 2001, Fernanda Pessoa was an exchange student in Mesa. She was 15 years old at the time. 15 years later she returned, in the weeks before the presidential election won by Donald Trump. Starting with numerous photos of that earlier time, Pessoa searches out people she met as a teenager. She finds a new approach to the United States, is more aware of everything she experiences; after all, she has grown up in the meantime. She conducts an inner dialogue with her former self as she rediscovers this country whose inhabitants are so proud of the fact that it’s theirs: America. The land of firearms and peculiar sports, the land that invented the shopping mall and the Western movie.

Pessoa quotes the philosopher Baudrillard, to whom America seemed like a fiction. With her film, she turns it into an experience of reality that ultimately makes her understand more about her own country: “Our cultural colonialism came to collect the bill.” “Arid Zone” (Arizona) opposes that colonialism with the gentle resistance of precise observation.

Bert Rebhandl



Honorable Mention in the Next Masters Competition Long Documentary and Animated Film.

Next Masters Wettbewerb 2019
Guaicurus Street João Borges

A red-light district in Belo Horizonte. The camera is admitted into a “running house”. Love for sale looks like a routine, dreary assembly line exercise here, sometimes almost like a comedy.

Guaicurus Street

Documentary Film
Brazil
2019
75 minutes
subtitles: 
English
German

Credits DOK Leipzig Logo

João Borges, Thais Mol (Yara Filmes), Mariana Andrade
João Borges
Lucas Oscilloid, Pedro Durães
Lucas Barbi
Fabian Remy
João Borges
Lucas Oscilloid, Marcel Dadalto, Pedro Durães, Victor Brandão
A red light district in Belo Horizonte. The brothels are soliciting customers in all the colours of the night. The windows here are usually open, there is at most a guy in a plastic chair sitting in front of the door. The camera is admitted into one of the “running houses”. We see a long shot, almost like on a surveillance monitor, of men in a stark corridor scurrying from woman to woman. But suddenly we’re really close to some negotiations (“3 positions for 25 Real”) and at some point there’s an “impossible” cut: a reverse shot from the other side of the door, out of the woman’s room. We see sex workers tidying up, hanging around, and gossiping. They talk about violence, of pretend and real orgasms. But we also see sex scenes, played by actors, in which love for sale sometimes looks like a practiced, dreary assembly line exercise, sometimes almost like a comedy.

If this film systematically blurs the boundaries between the documentary and the fictional gaze, it has to do with the wish to leave the women their dignity and to avoid all-too-familiar images of misery. But it also has to do with the fact that sex can never be separated from fictions and projections.

Lukas Foerster