Fogo do vento

On the front page of a newspaper, we read: “The people are no longer afraid.” On the imaginary front page of another newspaper, we might also read: “The people now have a filmmaker.” For what is FOGO DO VENTO if not the kaleidoscopic portrait of those with almost nothing apart from their will and the strength to work? In 230 shots, all of them static except for two brief pans, Marta Mateus brings together the inhabitants of a particular village. After a day of harvesting grapes in the vineyards, they have to run and climb the trees of the estate to escape from a bull. The animal was attracted by the blood of a young girl who cut her hand while working, although perhaps the bull is on the loose because the owners of the land want it that way (the creature’s metaphorical charge is magnificent, as is the depth of field of the shots that show it lurking). As they wait in the trees, night falls. The workers were already sharing their memories and states of mind, examining their class consciousness and episodes in the political history of Portugal, as well as their yearning for a just life. Natural light and the beautiful specificity of the angles used to compose each shot seem to caress the characters and return them to grace. (Roger Koza)

In the presence of Marta Mateus.

Marta Mateus: FARPÕES BALDIOS (2017, K)