Cripta II

PT/ENG

9/3/2021

By/Por:

João Pedro Faro

Com Cripta II, João Pedro Faro continua a traduzir o deslocamento historiográfico do cinema pornográfico brasileiro, refletido em seu estado quase ubíquo de baixa resolução, em sua própria forma estética - ou seja, abraçando os pixels, ou mesmo olhando para além deles para ver que tipo de beleza pode estar ali. Cripta II vê João começar a explorar certos elementos iconográficos que lhe interessam nestes filmes, como a prevalência de barcos, jovens adolescentes e água. A capacidade de João de criar imagens poderosas a partir destes símbolos é quase esmagadora, e aqui ele introduz uma paisagem sonora sônica que eleva o jardim de pixels saturados morphing e dançando na tela. Mas há claramente um significado ideológico por trás da simbologia que vemos em Cripta II: ou seja, reemergência e vir ao ser. Cripta II revela os meios pelos quais o cinema pornográfico brasileiro ainda vive - talvez como forragem para a experimentação estética, mas também, talvez, assumindo um papel maior em nossa compreensão da historiografia cinematográfica brasileira através de meios como a restauração.

With Cripta II, João Pedro Faro continues to translate the historiographic displacement of Brazilian pornographic cinema, reflected in its almost ubiquitous low-resolution state, into his own aesthetic form - that is, embracing the pixels, or even looking beyond them to see what kind of beauty may lie there. Cripta II sees João beginning to explore certain iconographic elements that interest him in these films, such as the prevalence of boats, young teenagers, and water. João's ability to create powerful images from these symbols is almost overwhelming, and here he introduces a sonic soundscape that heightens the garden of saturated pixels morphing and dancing on the screen. But there is clearly an underlying ideological significance behind the symbology we see in Cripta II: namely, reemergence and coming-into-being. Cripta II reveals the means by which Brazilian pornographic cinema stills lives - maybe as fodder for aesthetic experimentation, but also, perhaps, taking a larger role in our understanding of Brazilian film historiography through means such as restoration.

With Cripta II, João Pedro Faro continues to translate the historiographic displacement of Brazilian pornographic cinema, reflected in its almost ubiquitous low-resolution state, into his own aesthetic form - that is, embracing the pixels, or even looking beyond them to see what kind of beauty may lie there. Cripta II sees João beginning to explore certain iconographic elements that interest him in these films, such as the prevalence of boats, young teenagers, and water. João's ability to create powerful images from these symbols is almost overwhelming, and here he introduces a sonic soundscape that heightens the garden of saturated pixels morphing and dancing on the screen. But there is clearly an underlying ideological significance behind the symbology we see in Cripta II: namely, reemergence and coming-into-being. Cripta II reveals the means by which Brazilian pornographic cinema stills lives - maybe as fodder for aesthetic experimentation, but also, perhaps, taking a larger role in our understanding of Brazilian film historiography through means such as restoration.