Road movie

Interessante o artigo do Walter (gaaaaato) Moreira Salles no NYT sobre road-movies. Quem quiser ler inteiro, fica a dica.

Mas porque road-movies me interessariam a escrever um post, in the first place?

Em primeiro lugar por que eu já escrevi sobre road-movies anteriormente, quando falei que minha era um seriado. Foi um post meio auto-irônico sobre minha mania de romancear a minha vida a posteriori. A palavra road-movie apareceu lá, assim, sem mais nem menos. Meio por acaso, quando na verdade ela era a melhor descrição de como eu encaro minha vida.

Vamos dexar de mistérios e firulas e citar o nosso bem-amado-idolatrado-salve-salve Waltinho que soube, abordando road-movies de um ponto de vista técnico, me dar uma metáfora preciosa.

"In terms of their narrative architecture, road movies cannot be circumscribed by the traditional three-act structure of so many mainstream films. Road movies, for instance, are rarely guided by external conflicts; the conflicts that consume their characters are basically internal ones.

Characters like David Locke in Antonioni's “Passenger” or Phillip Winter in Wenders’s “Alice in the Cities” suffer from a need to redefine themselves. Both are uncomfortable in their shoes."

"Because road movies need to trace the internal transformation of their characters, the films are not about what can be seen or verbalized but about what can be felt — about the invisible that complements the visible. In this sense, road movies contrast starkly with today’s mainstream films, in which new actions are created every three minutes to grab the attention of the viewer. In road movies, a moment of silence is generally more important than the most dramatic action.

After directing three road movies myself (“Foreign Land,” in collaboration with my friend Daniela Thomas, “Central Station” and “The Motorcycle Diaries”), I believe that a defining aspect of this narrative form is its unpredictability. You simply cannot (and should not) anticipate what you will find on the road — even if you scouted a dozen times the territory you will cross. You have to work in synchronicity with the elements. If it snows, incorporate snow. If it rains, incorporate rain.
Likewise, a road movie should be transformed by the encounters that occur on the margins of the road. Improvisation becomes necessary and natural"

"There is no such thing as two road movies that look alike. In terms of film grammar, the road movie is limited only by one obligation: to accompany the transformations undergone by its main characters as they confront a new reality"

Para terminar esse post comemorativo da metáfora encontrada, vou encaixar uma citação de outro bem-amado, Kundera.

"Metaphors are dangerous. Love begins with a metaphor. Which is to say, love begins at the point when a woman enters her first word into our poetic memory."