LUMINOUS FRAMES

Film Festival & Photography Contest

 
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Cinematography by: António Murtas Moura. Musicby: Luis Simas. Edited by: Sara Eustáquio.

Voice OverOlivia Michael

All the action happens on top of a roof during the dawn when four young friends in their late teens sit in silence drowned in their own thoughts while sharing some booze and weed. The voice over leads the narrative, showing lines that capture with authenticity the existential thoughts that come up in this critical coming of age period. It is the time when a pause for reflection is necessary to think of the choices one must make while growing up.

Cast: Filipa Santos, Maria Baptista, Joao Miranda, Alexandre Tomás

Synopsis:

A girl confronts her emotions and struggles as she feels forced to grow up and fit in the society standards.

The editing also contributes to a never dull movie as it is assembled with many short cuts which provides a fast-pacing rhythm, helped also with movements of the camera.

The interpretation in the voice over is adequate, with emotion and never affected. The actors, who do not need to speak because of the voice over, deliver a convincing job.

Finally, The Funeral points out the efficiency in the use of the low budget. There are basically only two locations, four actors that have no lines – which may have reduced the number of takes, and lighting enough to make all the scenes clear. And that is all that director Sara Eustáquio needs to make this touching coming of age picture. 

The Funeral

 

2019, Portugal, 5 min

Written & Directed by:  Sara Eustaquio

The Funeral portraits the anxieties that the late teenagers face just before becoming adults. This short movie brings this issue to the screen using voice over. It is a good solution that director Sara Eustáquio chooses to express deeply what is inside the head of the protagonist. Equally ingenious is that she identifies who is the main character by zooming in towards her face among a party of four.

The Funeral never gets boring because, besides the beautifully written lines, there is a variety on the style of the scenes, as two sequences of fantasy are included, portraying literally what the main character is imagining. Visually, these sequences adopt a different tone, golden color oriented, and with softened focus, making them clearly different from the reality on the roof, captured with a more hardened lighting.

 

Eduardo Kaneco

Film Critic, the founder of Leitura Filmica