MEMORY HOUSE a film by João Paulo Miranda Maria - a film by João Paulo Miranda Maria
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MEMORY HOUSE
a film by João Paulo Miranda Maria
CANNES LABEL 2020
SAN SEBASTIAN FESTIVAL 2020 – NEW DIRECTORS
TORONTO INTERNATIONAL FILM FESTIVAL - DISCOVERY
PUBLICITY REPORT
World Sales : CELLULOID DREAMS
International Press : The PR Factory
World&Sales&:&CELLULOID&DREAMS&6&&International&Press&:&The&PR&Factory&
PRODUCTION&:&MANEKI&FILMS&6&France&(Didar&Domehri),&BE&BOSSA&ENTERTAINMENT&6&Brazil&(Paula&Cosenza,&Denise&Gomes)
KEY QUOTES
« a nuanced look at systemic racism in modern Brazil »
Ann-Marie Corvin – Variety
« João Paulo Miranda Maria’s first full-length film melds past and present, realism and fantasy, to
offer a mesmerising symbolic and political immersion into the Brazilian collective subconscious. »
Fabien Lermercier – Cineuropa
« Una inquietante y arriesgada fábula sobre un país que está lidiando con sus peores fantasmas y
horrores »
Diego Battle - Otros Cines
« This dream-like slow-burn drama comes off like a waking nightmare. Maria uses imagery from
Brazilian folklore to deploy a haunting interrogation of colonialism’s treacherous legacy.
This uncompromising tale of one man’s spiritual reawakening is one of the year’s most ferocious
social commentaries. »
Victor Stiff - That Shelf
World&Sales&:&CELLULOID&DREAMS&6&&International&Press&:&The&PR&Factory&
PRODUCTION&:&MANEKI&FILMS&6&France&(Didar&Domehri),&BE&BOSSA&ENTERTAINMENT&6&Brazil&(Paula&Cosenza,&Denise&Gomes)
« Rompedora, extraña y extravagante »
David S Blanco - Desistfilm
« Es una película dura y compleja, pero tal vez la más importante de todo el Festival Internacional
de Cine de Toronto 2020 »
La Estatuilla
« Miranda Maria paints a bleak and unforgiving picture of age and race »
Andrew Kendall – Stabroek News
« Memory House is a Haunting, Timely Film »
Christopher Cross – Tilt Magazine
« L’approche de Miranda Maria est percutante et travaillée : forte d’images indélébiles et d’une
atmosphère inquiétante, pointant vers un univers singulier et unique, qu’on surveillera de près »
Ariel Esteban Cayer - Revue 24 images
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PRODUCTION&:&MANEKI&FILMS&6&France&(Didar&Domehri),&BE&BOSSA&ENTERTAINMENT&6&Brazil&(Paula&Cosenza,&Denise&Gomes)
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HOME (HTTPS://AWARDSWATCH.COM/)/ REVIEWS (HTTPS://AWARDSWATCH.COM/CATEGORY/REVIEWS/)/ TIFF REVIEW: ‘MEMORY HOUSE’ FAILS TO ILLUMINATE,
KEEPING ITS BRAZILIAN FOLKLORE OUT OF REACH
Film Reviews (https://awardswatch.com/category/reviews/filmreviews/) Reviews (https://awardswatch.com/category/reviews/)
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Toronto International Film Festival (https://awardswatch.com/category/reviews/filmreviews/toronto-international-film-festival/)
TIFF Review: ‘Memory House’ fails to illuminate, (https://awardswatch.com/writers-guild-of-
america-wga-sets-dates-timelines-for-2021-
keeping its Brazilian folklore out of reach awards/)
September 18, 2020 Mina Takla (https://awardswatch.com/author/mina-takla/)
courtesy of TIFF
Plot: An Indigenrous-Black man from Brazil’s rural north struggles to earn acceptance in his
community. When he is informed that he must take a wage cut at the milk factory he has long worked
Film (https://awardswatch.com/category/news/film-news/)
for, he finds refuge in an abandoned house.
News (https://awardswatch.com/category/news/)
Writers Guild of America
Review: (https://awardswatch.com/category/news/film-
news/writers-guild-of-america-film-news/)
João Paulo Miranda Maria’s debut feature is a perplexing, distanced and often frustrating film about Writers Guild of America (WGA) sets dates,
how long-held racial stereotypes still remain alive in modern-day Brazil. Meant to be a slow burn, the timelines for 2021 awards
(https://awardswatch.com/writers-guild-of-
film sadly never reaches its full potential and ends up as an incoherent, almost dialogue-free america-wga-sets-dates-timelines-for-2021-
examination of key social issues but with almost no narrative focus. awards/)
September 28, 2020 Erik Anderson
The film centers on Cristovam (Antônio Pitanga), an Indigenous–Black man who now works in the (https://awardswatch.com/author/erik-anderson/)
south of Brazil, an area that is in better economic shape and always had better job prospects. One day,
the milk factory he has long worked for informs him that an economic crisis is hitting the country and (https://awardswatch.com/the-2020-cannes-film-
that he must come to terms with the fact that they can no longer keep paying him his regular wage. festival-is-back-sort-of/)
Exploiting the fact that Cristovam has nowhere else to go, they force him into accepting this –
otherwise his pension will be severely impacted.
Outside the factory, life is no different for Cristovam who encounters hatred, racism and attacks from
members of his community. He soon finds refuge in an abandoned old house in which he discovers
elements of his past. But even in this abandoned house with no proper utilities, Cristovam still endures
attacks from neighboring residents who simply do not want him to stay. He soon realizes that he can no Cannes Film Festival
(https://awardswatch.com/category/news/film-
longer remain passive and submissive and launches a defense that changes the remainder of his life news/cannes-film-festival-filmnews/)
forever. Film (https://awardswatch.com/category/news/film-news/)
News (https://awardswatch.com/category/news/)
Likely very difficult to decipher for international audiences unfamiliar with Brazilian folklore and folk The 2020 Cannes Film Festival is back…sort
tales, MEMORY HOUSE is sure to alienate mainstream and arthouse audiences outside Latin America. of (https://awardswatch.com/the-2020-
A slow-burn that overstays its welcome, it never truly clicks despite impressive technical credits, cannes-film-festival-is-back-sort-of/)
September 28, 2020 Erik Anderson
particularly the cinematography. While trying to draw parallels between Cristovam’s own struggles and (https://awardswatch.com/author/erik-anderson/)
larger issues that still exist in Brazil today, the film never manages to be as interesting as it thinks it is.
Midway, it becomes difficult to root for Cristovam simply as the character ends up in a loop of
(https://awardswatch.com/it-listens-from-the-
repetitive scenes that never progress the narrative. And when the payoff comes at the end, it never truly radio-to-debut-new-season-with-harvey-guillen-
achieves its desired impact simply because audience interest has not been sustained up to the final michael-varrati-lauren-holt-and-more/)
showdown.
A debut feature that is certainly far from being traditional, João Paulo Miranda Maria has created a film
that may find some local success but needed more narrative clarity and characterization to welcome
curious audiences interested in understanding the socio-political realities of Brazil at present. As
Cristovam, Antônio Pitanga is convincing but underused as an ailing man who never truly finds a place
where he belongs. Supporting performances are almost non-existent, as the film chooses to focus on
News (https://awardswatch.com/category/news/)
Cristovam and his brief encounters with the local residents. ‘It Listens From the Radio’ to debut new
season with Harvey Guillén, Michael Varrati,
Verdict: Inaccessible, distant and underdeveloped, MEMORY HOUSE will struggle to click with
Lauren Holt and more
audiences unfamiliar with Brazilian folklore and history. What could have been an illuminating film (https://awardswatch.com/it-listens-from-the-
ends up as a frustrating, slow-burn that never hits its potential. radio-to-debut-new-season-with-harvey-
guillen-michael-varrati-lauren-holt-and-
Grade: C- more/)
September 28, 2020 Erik Anderson
This review is from the 45th Toronto International Film Festival. (https://awardswatch.com/author/erik-anderson/)
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More StoriesLe Festival de Cannes rejoint celui de Saint-Sébastien avec 17 titres ! https://www.baskulture.com/article/le-festival-de-cannes-rejoint-celui-...
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LA LETTRE DU PAYS BASQUE
ACTUALITÉS MANIFESTATIONS GASTRONOMIE ANTIQUITÉS & BROCANTES PATRIMOINE
CINÉMA "
! 10/09/2020 23:50 | Baskulture
Le Festival de Cannes rejoint celui deLe Festival de Cannes rejoint celui de Saint-Sébastien avec 17 titres ! https://www.baskulture.com/article/le-festival-de-cannes-rejoint-celui-...
Saint-Sébastien avec 17 titres ! # | $ | Connexion | Inscription
Le Festival de Saint-Sébastien « Zinemaldia » , qui déroulera sa 68ème édition du 18 au 26
septembre, a inclus dans les différentes sections de son programme 17 titres - treize longs métrages
et quatre courts métrages - que le Festival de Cannes avait sélectionnés dans le cadre de ses
73ème édition , annulée en raison de la pandémie.
Son directeur, Thierry Fremaux, participera au gala d'ouverture du Kursaal avec le directeur du
Festival Zinemaldia, José Luis Rebordinos, pour rendre hommage à Cannes et au reste des
événements qui n'ont pas eu lieu en raison du coronavirus.
Au cours de cette année "spéciale" où de nombreuses compétitions cinématographiques avaient été
suspendues à travers le monde, Donostia et Cannes ont décidé de programmer et de donner de la
visibilité à plusieurs des films sélectionnés par le Festival de Cannes, car tous deux sont unis par
«une relation d'amitié et de collaboration» pendant des années.
Les titres programmés dans la section officielle, Nouveaux réalisateurs, Zabaltegi-Tabakalera, Perlak,
Nest et Culinary Zinema sont les œuvres de cinéastes tels que Danielle Arbid, Naomi Kawase,
François Ozon, Thomas Vinterberg, entre autres. Tous seront projetés sous le label "Sélection
Officielle Cannes 2020".
La section officielle comprend sept longs métrages qui étaient en compétition au festival de Cannes.
Il s'agit de «Simple Passion», une adaptation du roman d'Annie Ernaux de la réalisatrice franco-
libanaise Danielle Arbid; «Sutemose / In The Dusk», un drame de guerre du Lituanien Arunas Bartas;
«Asa Ga Kuru / True Mothers», une nouvelle exploration du microcosme familial de la japonaise
Naomi Kawase; «Eté 85 / Été 85 (Été 85)», un conte d'amours adolescentes signé par le Parisien
François Ozon : David - « bad boy » autoproclamé - prend l’ascendant sur le timide Alexis : une
relation forte, quoique toxique, se noue entre les deux jeunes hommes que vient perturber une jeune
estivante anglaise... Il s’agit du 19ème long métrage de François Ozon (52 ans) depuis son premier
opus Sitcom (1998), un cinéaste exigeant qui rédige également tous ses scénarios (voir la critique
cinéma de Jean-Louis Requena dans notre « Lettre » du 24 juillet dernier) ; et «Druk / Another
Round», le nouveau film du danois Thomas Vinterberg, qui met en scène plusieurs enseignants qui
se lancent dans une expérience excentrique sur l'éthyle.
En plus de ces cinéastes réputés, "Dasatskisi" de la débutante géorgienne Dea Kulumbegashvili
concourra également pour la "Concha de Oro" et le reste des prix attribués par la compétition
officielle, et «L'oubli», le film de Fernando Trueba basé sur le livre homonyme d'Héctor Abad
Faciolince, clôturera le Festival hors compétition.
Par ailleurs, Viggo Mortensen recevra cette année le Donostia Award, la plus haute distinction
décernée par le Festival de San Sebastian, où l'acteur et cinéaste américain présentera «Falling»,
ses débuts en tant que réalisateur.
Dans la section « Nuevos Directores », on retrouvera trois titres de la sélection de Cannes 2020 : "16
Printemps / Spring Blossom", film réalisé avec Suzanne Parisian Lindon, qui incarne une jeune
femme déchirée entre l'amour pour son homme plus âgé et profitez de votre vie d'adolescent; «Casa
de Antiquidades / Memory House», dans laquelle le Brésilien Joâo Paulo Miranda Maria utilise une
histoire fantastique pour capturer les tensions sociales et raciales au Brésil aujourd'hui; et «Limbo»Le Festival de Cannes rejoint celui de Saint-Sébastien avec 17 titres ! https://www.baskulture.com/article/le-festival-de-cannes-rejoint-celui-...
(hors compétition), une satire interculturelle dans laquelle le Britannique Ben Sharrock aborde les
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difficultés et l'espoir des réfugiés.
Zabaltegi-Tabakalera proposera deux œuvres de la compétition de courts métrages de Cannes:
«Stéphanie», du Belge Leonardo van Dijl, et «J'ai peur d'oublier votre visage», de l'égyptien Sameh
Alaa.
Perlak projettera "AND / DNA", un film réalisé et mettant en vedette Maïwenn sur une femme qui
souffre d'une crise d'identité après la mort de son grand-père, tandis que Culinary Zinema a
programmé "The Truffle Hunters", des Américains Michael Dweck et Gregory Kershaw, qui suivent
une poignée de vieillards chassant la truffe blanche d'Alba dans les forêts du Piémont italien.
Nest accueillera la projection de «Muralla china», de l'Argentin Santiago Barzi, et de «I Want To
Return Return Return», de la Suédoise Elsa Rosengren. Les deux œuvres étaient programmées à la
Cinéfondation Selection de Cannes, une section dans laquelle s'affrontent des courts métrages
d'écoles de cinéma du monde entier.
Outre le Festival de Cannes, le Festival de Saint-Sébastien présentera également, hors compétition
et en projection spéciale de sa section officielle, "We Are Who We Are'', la série de l'Italien Luca
Guadagnino qui avait programmé la Quinzaine des réalisateurs de Cannes , également suspendu
àcause des conditions sanitaires. En outre, Zabaltegi-Tabakalera projettera «Dustin», de la
réalisatrice française Naïla Guiguet, dont le travail a été présenté dans la section court-métrage de la
Semaine de la critique de Cannes avant son annulation.
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NOTICIAS TRAILERS CRÍTICAS ENTREVISTA EVENTOS ACERCA DE… CONTACTO
TIFF 2020: Memory House, crítica.
by erick | @ | September 25, 2020 2:27 pm
! " + $ % &0
TIFF 2020
Memory House
La ordeña de Brasil
Por Erick Estrada
Cinegarage
Memory House es casi un viaje en el tiempo. Joao Paulo Miranda María nos presenta a su (nuestro)
personaje central Cristovam (Antonio Pitanga) en una muy cruel escena de apertura en la que este hombre
envejecido a golpe de trabajo es notiEcado de que la empresa que lo contrató va a reducir su sueldo a la
mitad. Esa empresa propiedad de un grupo de empresarios llegados de la Europa más retrógrada, busca
sanear sus Enanzas para no generar pérdidas y en consecuencia sacriEca a quienes generan las ganancias.
El retrato de esta situación minimiza en la pantalla a Cristovam de tal forma que es imposible no sentir la
tripa revuelta, el enfado que se Eltra por los poros.
Capitalismo puro, racismo escondido en movidas empresariales, explotación y opresión que encuentran su
propio símbolo en la actividad de la empresa: la ordeña masiva de vacas.
En esa entrada está toda la explosividad de Memory House. No sólo porque obligado por las circunstancias
Cristovam se ve forzado a habitar una casa en abandono pero llena de memorabilia y recuerdos (el nombre
en portugués de la películas es Casa de Antiguidades) en donde será objeto del rechazo supremacista,
racista, visceral y enfadado de quienes viven alrededor de él, la colonia relacionada con los explotadores
empresarios europeos de derechas imbéciles que lo violentan de todas las formas posibles. Sino también
porque al buscar refugio en lo que ahora es su casa Cristovam conecta poco a poco con el pasado de su
país, profundo, enraizado, un pasado que a veces le da confort y otras le conErma que la situación de
explotación de la gente de Brasil, de sus tierras, de sus selvas no es cosa nueva y no ha mejorado desde que
comenzó (Bolsonaro odiará esta película). Hay que agregar además que en una voltereta vital el (nuestro)
personaje central es interpretado por Antonio Pitanga, actor del Cinema Novo brasileño, movimiento que
buscaba retratar la inclemente realidad de Brasil en los años 60 para transformarla a favor de los de abajo.
Memory House juega entonces con esas ideas al transitar en los días de Cristovam en una nave estilo
pesadilla. Un lenguaje onírico que no termina por serlo y a veces se injerta aromas de borrachera infernal y
sueños húmedos de fetichismos revolucionarios. Memory House juega con una forma aleatoria, poco
narrativa pero ultra descriptiva, pegatinas de pasado que se dejan ver en las capas ocultas de la pintura y el
cemento de la pared y que cuando es necesario llevan a Cristovam al pasado de su propia cultura ya sea paraMemory House, crítica desde el TIFF 2020. Cinema Novo y cine cont... https://www.cinegarage.com/56649-tiff-2020-memory-house-critica/
aliviarlo y darle armas (literales y Eguradas) o dejarle ver que el futuro es tan ingrato como el pasado de
explotación en que han vivido tantos.
Cristovam acepta el viaje y se monta en la nave. Y en su camino al pasado (¿por qué se convierte en
vaquero?) se fortalece ante los golpes de un sistema inhumano materializado en sus vecinos. La casa es su
refugio y su trampa (la metáfora de su país). Ahí encuentra los disfraces chamánicos que lo deEenden y que
eventualmente lo convertirán en aquello que sus patrones explotan: una vaca ceremonial mezcla de
supersticiones oEciales y herejes que toma venganza ante su propia explotación y que embiste en una
especie de violenta reivindicación, pero que no le evita ser presa de un presente cruelmente explotador. Es
una película agridulce.
En esos aires indeEnidos. En esos golpes de vista. En su evasiva forma llena de espacios para los gritos que
todavía no se oyen está el llamado de Memory House a la resistencia, quizá la única palabra que Cristovam
tiene clara en su maltratado universo de explotado.
CONOCE MÁS. Esta es la crítica de Erick Estrada a True Mothers, gran drama japonés de Naomi Kawase
presentado en el TIFF 2020.
Memory House
(Casa de antiguidades, Brasil-Francia, 2020)
Dirige: Joao Paulo Miranda
Actúan: Antonio Pitanga, Ana Flavia Cavalcanti, Sam Louwyck, Soren Hellerup
Guion: Joao Paulo Miranda, Felipe Sholl
Fotografía: Benjamin Echazarreta
Duración: 87 minutos.
Filed under: Críticas Tags: Ana Flavia Cavalcanti, Antonio Pitanga, cine, cinegarage, Cinegarage Critica,
Cinegarage crítica de cine, Cinegarage Críticas, Erick Estrada Cinegarage, Erick Estrada criticas Cinegarage,
Erick Estrada crítico de cine, Felipe Sholl, Joao Paulo Miranda, Sam Louwyck, Soren Hellerup, TIFF, TIFF 2020,
Toronto International Film Festival, Toronto International Film Festival 2020
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SAN SEBASTIAN 2020 New Directors
Critique : Memory House
par FABIEN LEMERCIER
25/09/2020 - Le premier long de João Paulo Miranda Maria entremêle présent et passé, réalisme et
fantastique, pour une envoûtante immersion symbolique et politique dans l’inconscient collectif brésilien
"
!
Au micro d’une vente aux enchères de bétail dans l’État de Goiás, le speaker vante "la caractérisation
raciale impeccable", le "biotype très productif", le "bagage génétique" (hérité de ses parents Credit et
Traveler) d’un spectaculaire taureau Jatoba vendu 16 000 euros. C’est au cœur d’un Brésil à deux vitesses
économiques (et raciales) nettement séparées et deux univers psychiques se superposant que João Paulo
Miranda Maria a déployé l’ambitieux et étrange Memory House [+], son premier long métrage, labellisé par
la Sélection Officielle du Festival de Cannes, passé par le programme Discovery du Festival de Toronto et
projeté dans la compétition New Directors du 68e Festival de San Sebastián.
Originaire du Nordeste, Cristovam (Antonio Pitanga) est employé depuis plus de 20 ans dans la société
laitière Kainz ("nous sommes venus d’Europe pour apporter l’innovation, apporter une nouvelle perspective
à ce pays nouveau") qui s’est délocalisée dans le Sud et qui soutient le mouvement séparatiste ("nous ne
pouvons plus continuer à être la région qui paye le plus de taxes et qui reçoit le moins en retour…
Continuer à recevoir des ordres des gens paresseux du Nord… Le référendum est notre bouclier contre leCritique : Memory House - Cineuropa https://cineuropa.org/fr/newsdetail/392998/
sous-développement du reste du Brésil"). À son très humble niveau, Cristovam, qui vit seul avec son chien
en pleine nature, à l’écart du village, encaisse en silence les sacrifices que la survie économique impose.
Mais un souffle d’air nouveau perce secrètement sa carapace et le propulse entre deux mondes, dans une
zone fantasmagorique où s’incarnent les animaux sauvages, où les objets et les esprits anciens prennent
possession de son âme, où les sagaies s’opposent aux fusils…
Visions hallucinatoires, changements de perspective, feulements de fauve, masque d’Halloween et vrai
cadavre : à partir d’une maison abandonnée, João Paulo Miranda Maria (qui a aussi écrit le scénario) fait
se télescoper plusieurs dimensions et ouvre en grand la fenêtre du présent aux esprits ancestraux de son
pays. S’engouffrent des jaguars, des taureaux aux yeux de feu, des forêts brumeuses, tout un univers
parallèle gagnant le microcosme de l’usine, du bar du quartier, des gamins violents, du racisme ambiant, de
la misère sociale… Une sorte d’hymne et d’appel aux racines du peuple brésilien, aux rituels purificatoires
et sacrificiels occultes du candomblé, que le cinéaste enchevêtre avec un sens très développé de
l’étrangeté qui réussit à maintenir un degré de curiosité élevé tout en laissant au spectateur les clés
multiples de l’interprétation, au-delà d’un message parfaitement clair : "il est temps… il a prié et prié encore
pour que le monde change".
Produit par les Brésiliens de BeBossa Entertainment et les Français de Maneki Films, Memory House est
vendu à l’international par Celluloid Dreams.
plus sur : Memory House
Critique : Memory House
Le premier long de João Paulo Miranda Maria entremêle présent et
passé, réalisme et fantastique, pour une envoûtante immersion
symbolique et politique dans l’inconscient collectif brésilien $
25/09/2020 | San Sebastian 2020 | New Directors
San Sebastian reçoit Luca Guadagnino
Le festival a annoncé qu’il accueillerait la première mondiale de la
série du réalisateur italien, We Are Who We Are, et complète les
programmes des sections Compétition, New Directors et... $
24/08/2020 | San Sebastian 2020/Compétition/Hors-compétition/Séances
spéciales/New Directors/Zabaltegi-Tabakalera
Étienne Comar tourne À l’ombre des filles
Alex Lutz, Agnès Jaoui, Veerle Baetens, Hafsia Herzi et Marie
Berto au casting. Une production pilotée par Maneki Films et
Arches Films avec Versus en coproduction et qui sera vendue par
Playtime $
24/08/2020 | Production | Financement | France/BelgiqueReview: Memory House - Cineuropa https://cineuropa.org/en/newsdetail/392998/#cm
en | es | fr | it
News Films Interviews Festivals Videos Industry Services More #
SAN SEBASTIÁN 2020 New Directors
Review: Memory House
by FABIEN LEMERCIER
25/09/2020 - João Paulo Miranda Maria’s first full-length film melds past and present, realism and
fantasy, to offer a mesmerising symbolic and political immersion into the Brazilian collective subconscious
"
!
At a cattle auction in the State of Goiás, microphone in hand, the speaker sings the praises of spectacular
bull Jatoba’s "impeccable racial profile", “highly productive biotype" and specific "genetic make-
up" (inherited from his parents Credit and Traveler), an animal eventually sold for 16,000 euros. It’s within
the depths of Brazil’s distinctly separate economic (and racial) two-tier system, and two overlapping psychic
worlds that João Paulo Miranda Maria unfurls his ambitious and bizarre film Memory House [+], a first
feature-length title which was awarded the Cannes Film Festival’s Official Selection label, which went on to
grace the Discovery section of the Toronto Film Festival and which has now been screened in the New
Directors competition of the 68th San Sebastián Film Festival.
Originally from the North-East, Cristovam (Antonio Pitanga) has been an employee of the dairy company
Kainz for over 20 years ("we came from Europe to bring innovation, to bring a new perspective to this new
country"), a firm which has relocated to the South and which supports the separatist movement ("we can no
longer continue to be the region which pays the most tax and which receives the least in return… takingReview: Memory House - Cineuropa https://cineuropa.org/en/newsdetail/392998/#cm
orders from the lazy folk of the North … This referendum is our shield against the under-development of the
rest of Brazil"). At his own very humble level, living alone with his dog in the middle of the countryside away
from the village, Cristovam suffers in silence, sucking up the sacrifices required for financial survival. But a
breath of fresh air subtly penetrates his shell and propels him between two worlds, into a phantasmagorical
zone where wild animals take shape, where objects and ancient spirits take a hold of his soul and where
spears must fight against guns…
Hallucinatory visions, changes in perspective, the growling of wildcats, a Halloween mask and a real-life
corpse: from an abandoned house, João Paulo Miranda Maria (who also wrote the script) brings various
dimensions into collision and flings opens a window to the ancestral spirits of his homeland, allowing them
to enter into the present. Jaguars, bulls with eyes ablaze, misty forests… An entire parallel universe rushes
forwards, invading the microcosm of the factory, of the local bar, of violent kids, of the pervading racism and
social destitution… It’s a hymn, of sorts, and a call for the Brazilian people to return to their roots, to the
purifying, sacrificial, occult rituals of candomblé, which the filmmaker tangles together with a highly
developed sense of the bizarre, successfully maintaining high levels of curiosity while also leaving the
viewer multiple keys to interpret the film. This, in addition to the crystal-clear message: "it is time… he has
prayed and prayed again for the world to change".
Produced by Brazilian outfit BeBossa Entertainment and French firm Maneki Films, Memory House is sold
worldwide by Celluloid Dreams.
(Translated from French)
more about: Memory House
Review: Memory House
João Paulo Miranda Maria’s first full-length film melds past and
present, realism and fantasy, to offer a mesmerising symbolic and
political immersion into the Brazilian collective subconscious $
25/09/2020 | San Sebastián 2020 | New Directors
San Sebastián to welcome Luca Guadagnino
The Spanish festival will host the world premiere of the Italian
director's series We Are Who We Are, and completes Competition,
New Directors and Zabaltegi-Tabakalera selections $
24/08/2020 | San Sebastián 2020/Competition/Out of Competition/Special
Screenings/New Directors/Zabaltegi-Tabakalera
Étienne Comar films À l’ombre des filles
Alex Lutz, Agnès Jaoui, Veerle Baetens, Hafsia Herzi and Marie
Berto star in this production handled by Maneki Films and Arches
Films, with Versus in co-production, sold by Playtime $
24/08/2020 | Production | Funding | France/BelgiumReview: Memory House - Cineuropa https://cineuropa.org/en/newsdetail/392998/#cm
The 37th edition of Films in Progress results
in two winners
The jury of the Toulousian edition crowns 50 o dos ballenas se
encuentran en la playa by Mexico’s Jorge Cuchí and Karnawal by
Argentina’s Juan Pablo Felix its joint champions $
06/04/2020 | Industry | Market | France
Films in Progress takes an online form
Industry professionals can access six work-in-progress titles
currently in post-production and taken from the event that was
originally scheduled to unfold within Toulouse’s Cinelatino
Festival $
30/03/2020 | Industry | Market | France
more
related news
28/09/2020 28/09/2020 25/09/2020
San Sebastián 2020 – New San Sebastián 2020 – New San Sebastián 2020 –
Directors Directors Competition
Review: I Never Cry Review: Death Knell Review: In the Dusk
25/09/2020 25/09/2020 24/09/2020
San Sebastián 2020 – San Sebastián 2020 – RTVE Films / Reviews – Italy
Competition Screenings
Review: Romantic Guide to Lost
Review: Beginning Review: The People Upstairs Places
all news
trailers & videos
international title: Memory House
original title: Casa de Antiguidades
country: Brazil, France
sales agent: Celluloid Dreams
year: 2020
directed by: João Paulo Miranda Maria
screenplay: João Paulo Miranda MariaReview: Memory House - Cineuropa https://cineuropa.org/en/newsdetail/392998/#cm
cast: Sam Louwyck, Soren
Hellerup, Antonio Pitanga,
Ana Flavia Cavalcanti
main awards/selection
Cannes 2020
San New Directors
Sebastián
2020
full film profile amomama.com VISIT SITE
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interviews, data bases, in-depth investigations into the audiovisual industry, Cineuropa aims at promoting
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exchange information and ideas.MEMORY HOUSE (2020): João Paulo Miranda Maria's Film Examin... https://film-book.com/memory-house-2020-joao-paulo-miranda-marias-...
Movie News
MEMORY HOUSE
(2020): João Paulo
!
"
Miranda Maria’s
# Film Examines
Racism in
&
%
' Contemporary
(
Brazil
$
! 0 " 2 minutes read
)
Scott Mariner • 1 week ago
*
+
! 0 " 0 # 1 $
% 0 &
Memory House ExaminesMEMORY HOUSE (2020): João Paulo Miranda Maria's Film Examin... https://film-book.com/memory-house-2020-joao-paulo-miranda-marias-...
Racism in Contemporary Brazil
João Paulo Miranda Maria’s debut feature film Memory
House – a critical appraisal of racism in modern Brazil – is
about to make another appearance on this year’s festival
circuit at the San Sebastian Film Festival.
!
Advertisement
"
The only Latin American film to be selected at the Cannes
#
film festival this year, Memory House has also been shown
$ at the Toronto festival and will run in the New Director’s
Line Up at San Sebastian later this week. Miranda Maria
%
uses minimal dialogue and scenes with richly composed
& visuals to tell the story of Cristovam (Antonio Pitanga), an
indigenous Black man from the rural north of Brazil who
'
migrates to a conservative Austrian-Brazilian community in
( the south of the country to work at a dairy farm.
)
Full of imagery from indigenous Brazilian folklore, the film
* examines what happens to an oppressed minority man as
decades of abuse chip away at his humanity. Cristovam’s
+ character undergoes a transformation inspired by the
“caboclo boiadeiro” figures of the bull and cowboy, as he
comes to realize that he has more in common with the
dairy’s cattle than he does with his fellow workers.
A timely commentary on the enduring legacy of
colonialism in South America, the screenplay was written
and developed at a Cannes Next Step Workshop that
Miranda Maria attended in 2015, at a time when his native
Brazil was in a state of political upheaval. Later that year
impeachment proceedings began against Dilma Rousseff
– Brazil’s president at the time – eventually leading to the
election of the far-right politician Jair Bolsonaro,
frustrating Miranda Maria. The director commented that he
has long felt racial tensions simmering just under the
surface in Brazil, “which is at odds with its image as a
tropical carnival paradise.” He added that portraying theseMEMORY HOUSE (2020): João Paulo Miranda Maria's Film Examin... https://film-book.com/memory-house-2020-joao-paulo-miranda-marias-...
tensions on screen gives a shamanistic element to his work
like the spirits invoked by the character in his film.
Born in 1982 in São Paulo, the largest city in Brazil,
Miranda Maria graduated in “Cinema and Master” at the
University of Campinas. He is a Teacher at the Methodist
University of Piracicaba and coordinates for a film
!
collective called Kino-Olho in São Paulo. His films are
" inspired by the reality of the countryside where he lives.
# Brazilian octogenarian actor Antonio Pitanga has starred
$ in over 65 films, multiple soap operas and series, and a
dozen plays over the past sixty years. Featuring
% prominently in the “Cinema Novo” movement, Pitanga has
worked with some of the most esteemed directors in
&
Brazilian cinema such as Joaquim Pedro de Andrade,
' Glauber Rocha, Cacá Diegues, Trigueirinho Neto,
Roberto Pires, Walter Lima Jr, and Anselmo Duarte.
(
) Leave your thoughts on Memory House below in the
comments section. Readers seeking to support this type of
*
content can visit our Patreon Page and become one of
+ FilmBook’s patrons. Readers seeking more movie news can
visit our Movie News Page, our Movie News Facebook Page,
and our Movie News Twitter Page. Want up-to-the-minute
notification? FilmBook staff members publish articles by
Email, Twitter, Instagram, Tumblr, Pinterest, and Flipboard.
This movie news was bought to our attention by Variety
and the PR Factory.
# Tags Antonio Pitanga Cannes Film Festival
João Paulo Miranda Maria Memory House Movie News
San Sebastián Film Festival Toronto International Film FestivalMemory House - KinoCulture Montréal https://kinoculturemontreal.com/memory-house/
AC C U E I L LES FILMS EN SALLE HORS-CHAMP ENTREVUES
H I S TO I R E ( S ) D E C I N É M A TRIBUNE LIBRE H O M M AG E À PROPOS
C O N TAC T
RECHERCHE
Memory House
Posted on 19 septembre 2020
|
MEMORY HOUSE Trailer | TIFF 20…Memory House - KinoCulture Montréal https://kinoculturemontreal.com/memory-house/
SUCCINCTEMENT
PRIMEURS EN
Un homme d’âge moyen, noir de SALLE À
peau, Cristovam, travaille dans une MONTRÉAL
usine d’une région du Brésil dirigée
par un autrichien. Il découvre une
maison quelque part perdue dans la
région. Le lieu et les objets qu’il y
trouve évoquent en lui ses propres
racines.
CRITIQUE.
[ Inédit]
« Discovery » / TIFF 2020
Texte.
Élie Castiel Semaine du
vendredi 25
★★★ septembre au jeudi
1er octobre 2020
Un film austère, idéologiquement délinéaire,
puisque la narration classique n’a pas ici droit
Articles plus
de cité. Il est ici question d’un scénario original anciens >>
du réalisateur, cosigné avec Felipe Sholl, à qui
l’on doit quelques projets d’écriture, deux
courts et un long métrage en 2016, T a l k t o M e
(The Other End / Fala comigo). ARTS PLURIELS
Le titre original de l’opera prima de João Paulo
Miranda Maria s’harmonise davantage avec cet
anti-récit qui va intentionnellement dans tous
les sens, sans points d’appui. Tout le contraire,
observant une sorte de religiosité maladive à
brouiller les pistes, à présenter des
Zebrina. Une pièce
personnages qui ne sortent on ne sait d’où. Et
à conviction
peu de dialogues, préférant que la caméra de
Benjamin Echazarreta brosse des portraits
originaux, des canevas hors du temps, parfois
anachroniques, posant un geste inquiétant
envers le spectateur, l’obligeant à essayer de
donner un sens à ce qui se passe à l’écran.
Pour revenir au titre original, Casa de Paris au temps duMemory House - KinoCulture Montréal https://kinoculturemontreal.com/memory-house/
Antiguidades (Maison d’antiquités) est sans postimpressionnisme
doute le seul élément qui prédispose : Signac et les
Cristovam, le (anti)héros de ce drôle de récit à indépendants
découvrir des objets, des artéfacts d’une autre
époque, à creuser (briser) un mur portant un
gra"ti raciste pour découvrir une a"che d’un
film western (est-ce bien de cela qu’il s’agit?)
pour que plus tard, ce même bout de papier
devienne une sorte de dessin paléolithique.
Un folklore
Antony & Cleopatra
Articles plus
intentionnellement anciens >>
désincarné
Les pistes sont volontairement brouillées et
cela fait partie d’un certain Cinéma Novo EN LUMIÈRE
brésilien, si cher aux années 70 et qui a permis
à Antonio Pitanga (ici, Cristovam) de signer
son seul long métrage en 1978 – I n t h e M o u t h
o f t h e Wo r l d / Na Boca do Mundo –
coscénarisé par l’incontournable Carlos
Diegues et moins connu, Leopoldo Serran,
signataire de l’écriture de B y e B y e B r é s i l / Bye Fantasia 2020 [
Bye Brasil (1980), de Diegues. Travail d’artisans Deuxième partie ]
d’une certain époque du cinéma brésilien dont
les membres collaborent souvent ensemble, en
équipes harmonisées. Et si c’était le cas de
Miranda Maria, lui aussi porté par ce cinéma
national d’un autre temps, quitte à prendre
des risques énormes et s’attendre au pire.
Fantasia 2020 [
Première partie ]
For
the
Daemon
La première séquence ressemble à un plan-
séquence tant le patron de l’usine prend un Articles plusMemory House - KinoCulture Montréal https://kinoculturemontreal.com/memory-house/
temps fou pour annoncer à Cristovam qu’il anciens >>
sera licencié. Âge? Raisons économiques? Peu
importe puisque le reste du film est un va-et-
vient continuel entre des séquences
métaphoriques et d’autres plus réalistes qui IN-FOLIO
font le parcours d’un racisme institutionnalisé,
de l’indi#érence de l’Être et particulièment
d’une certaine forme de violence. Le
colonialisme n’est pas mort. Il arbore un
nouveau visage.
Quelques Pornodyssée
panoramiques, même si
le plan fixe est
facilité dans
l’ensemble, projettent
une vision partagée
des lieux clos et de la Cinémiracles,
liberté de certains l’émerveillement
extérieurs, comme ce religieux à l’écran
petit troupeau de
vaches dans un pré Les
verdoyant,
contrastant avec la
décrépitude de la
maison abandonnée.
crapauds sourds de
Berlin
Pas de direction d’acteurs, mais une tentative
de collaboration commune entre tous les Articles plus
participants/protagonistes. D’où ce laxisme anciens >>
dans certains gestes qui paraissent
intentionnellement improvisés.
Quelques panoramiques, même si le plan fixe ÉPHÉMÉRIDES
est facilité dans l’ensemble, projettent une
vision partagée des lieux clos et de la liberté de
certains extérieurs, comme ce petit troupeau
de vaches dans un pré verdoyant, contrastant
avec la décrépitude de la maison abandonnée.
Lieu où Cristovam découvrira deux jeunesMemory House - KinoCulture Montréal https://kinoculturemontreal.com/memory-house/
hommes en train de copuler – Pourquoi de ce Cpx-Hebdo [39
court moment tout à fait inutile – 09-2020]
Homophobie? Provocation? Humour mal placé?
Mais bon, on pardonnera cet écart à João
Paulo Miranda Maria tant il semble possédé
par un genre de cinéma qui le hante et qui
nous a ébloui à une certaine époque.
Mais au fond, le folklore dont il est question,
Cpx-Hebdo [38
du moins en apparence, se trouve étrangement
09-2020]
désincarné, perdu dans les méandres d’une
symbolique démesurée.
FICHE
Cpx-Hebdo [37
09-2020]
Articles plus
anciens >>
TECHNIQUE
Réalisation
João Paul Miranda Maria
Scénario : João Paul Miranda Maria, Felipe
Sholl
Origine : Brésil / France
Langue(s)
V.o. : portugais, allemand; s.-t.a.
Casa de Antiguidades
Année : 2020 – Durée : 1 h 30 minMemory House - KinoCulture Montréal https://kinoculturemontreal.com/memory-house/
Image : Benjamin Echazarreta
Montage : Benjamin Mirguet
Musique : Nicolas Becker
Son : Guillermo Farkas
Assisté de Ariel Enrique, Luana Leobas
Léo Bortolin & Isadora Torres
Direction artistique : Isabelle Bittencourt
Interprètes
Antonio Pitanga, Ana Flavia Cavalcanti
Sam Louwyck, Soren Helterup
Producteur(s)
Paula Cosenza, Didar Domehri
Denise Gomes, Ariene Ferreira
Contact @
Bossa Nova Films [ São Paul – BRÉSIL ]
Maneki Films [ Paris – FRANCE
ÉTOILES FILANTES
★★★★★ Exceptionnel. ★★★★ Très Bon.
★★★ Bon.
★★ Moyen. ★ Mauvais. 0 Nul.
½ [ Entre-deux-cotes ]
Hors-Champ
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Casa de Antiguidades (Memory House) 2020- Dir João Paulo
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Set in modern-day Brazil, with a fantastical narrative using hallucinations and dreams, in Monday, September 28, 2020 -
his lm Memory House 2020, João Paulo Miranda María explores the lonely and tortured
life of Cristovam as he su ers the harsh clash of cultures between the North and South Casa de Antiguidades (Me
House) 2020- Dir João Paul
of Brazil.
Miranda María
by Corina J Poore Saturday, September 26, 2020 -
'Window to the Sea' Direct
Miguel Ángel Jiménez
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Wednesday, September 23, 202
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When the German-owned Dairy he works for is closed down, Cristovam, a middle-aged native
Black man from the sertão rural lands of Goiás (a magnetic Antonio Pitanga), goes with the
company to their new location in the southern part of Brazil. This is an area that has been
occupied by German and Austrian colonies for a long time, so that German has, in e ect
become the local language, Bavarian liederhosen are worn and German ditties and accordion
music rings out of every corner, often accompanied by much heel slapping. Surrounded by
racist xenophobes, who are clamouring for a referendum on independence from the rest of
Brazil, Cristovam nds himself alienated and ostracized.
FIND OUT WHAT'S ON
“…we can no longer continue to be the region which pays the most tax and which receives the least in
return… taking orders from the lazy folk of the North … This referendum is our shield against the «
SEPTEMBER
under-development of the rest of Brazil".1 2 3 4
6 7 8 9 10 11
13 14 15 16 17 18
20 21 22 23 24 25
27 28 29 30
Antonio Pitanga as Cristovam in Memory House (2020)
Eventually, Cristovam nds an old abandoned house full of memorabilia and Afro-Brazilian
religious objects that he recognizes and, feeling at home, he decides to live there. The objects
he goes discovering in the house, begin to take on a life of their own, as if alive. Gradually, he
identi es with them so much that he begins a metamorphosis of his own, guided by their
spirits.
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We at LatinoLife feel honoured to be
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Aware of the multi-layered complexity of the cultural mix in Brazilian culture, Miranda María podcast from one of London’s most
integrates mythical creatures like the bull/ ox (Bumba-meu-Boi, used in dance by lower classes experienced and most loved Salsa
to mock other classes in a show of strength) and the Jaguar (that embodies aggressiveness and teachers.
valour), that haunt Cristovam’s deliriums and dreams. The jaguar can represent the power to
face one’s fears and confront one’s enemies. One night, visions of the Jaguar with its ability to
see in the night and gaze into the dark parts of the human heart, frighten him to use his spear
to defend himself, as he lives always on guard, tormented by the cruel taunts of his German
work colleagues and their delinquent children who murder his dog.German children in Memory House (2020) João Paulo Miranda María explores the divisions and lack of cohesion between di erent area of Brazil through this exposé of a clash of cultures. Having come from the north- east himself, Miranda María also uses the metaphor of a cattle auction in Goiás, the home state of the main character Cristovam, where the sale of one very valuable breeding bull and his spectacular genealogy, illustrates the huge economic, social and racial tiers in the society as the bull is sold for more money than Cristovam would see in a lifetime. Antonio Pitanga With the help of the ancestral spirits that he evokes, Cristovam seeks to ends his silent su ering by allowing himself to be possessed by the spirits. Inspired by bulls and jaguars and occult rituals of candomblé,he nally decides to ght back. "it is time… he has prayed and prayed again for the world to change".
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Antonio Pitanga as Cristovam with his dog
Latino Life
As one reviewer put it, the lm is a sort of ‘hymn’ calling for change and a return to one’s roots. @latinolifeuk
This man, who nds himself in a foreign country in his own land, is surrounded by hostility, Presenting #OrishaOko, #Top10 #MarcAnthon
milk cows that get slaughtered for getting old, abusive neighbours and few, if any, opportunities #IssacDelgado Cuban Salsa Black Heroes o
for any worthwhile human contact, so he feels that the only way out is to become one with the Embed View on T
spirits.
Miranda María avoids gratuitous scenes and a lot is suggested and not clearly seen. There is a
painful slow pace and a slow burn as Cristovam is belittled and taunted, but nds himself
unable to react being ostracized as the outsider. Antonio Piranga as Cristovam has a powerful
presence on screen, so that although it is not always easy to understand what is going on, it is
hard to not be compelled to continue watching. The Art direction (Isabelle Bittencourt), mise- en
-scène, photography and lighting is powerfully atmospheric, with a particular edge in the
superb colour quality. The DOP is Benjamín Echazarreta, (also known for his work on A
Fantastic Woman (2017) and Gloria (2013) both directed by Sebastian Lelio).
Miranda Maria previously directed a number of short lms that gained recognition. Command
Action (2015) was selected for the ‘Semaine de la Critique’ at Cannes and later his lm The Girl
who Danced with the Devil 2016 was awarded a Special Jury Mention. Selected to participate in
the New Director’s Competition at the 68th San Sebastian International Film festival, Memory
House (2020) was also the only Latin -American entry of the Cannes Label 2020.You can also read
