2012<\/p>\n
super 8 film HD digital transfer, stereo sound<\/p>\n
30min. 30sec.<\/p>\n
Louidgi Beltrame in collaboration with Elfi Turpin<\/p>\n
<\/p>\n
Cinela\u0302ndia<\/em>, which means \u2018land of cinema\u2019 in Portuguese, borrows its title from a neighborhood in downtown Rio de Janeiro, whose heyday occurred in the 1930s, when it housed the city\u2019s cinemas.<\/p>\n Cinela\u0302ndia<\/em> was shot in 2010 in the Tijuca jungle which lies above Rio de Janeiro\u2014the world\u2019s largest urban forest. Beltrame and Turpin filmed the Casa de Canoas, the only glass house ever designed by Oscar Niemeyer, a must exercise for any modernist architect. Planned in 1951 and completed in 1953, it was designed for the architect\u2019s family, but was only lived in for a few years. The thereafter deserted house, whose upkeep was nevertheless maintained, has been turned into a bachelor machine, somewhere between architecture and sculpture. As the years have passed, the carefully laid out and organized garden has been overtaken by the Atlantic mata.<\/p>\n This glass pavilion is here seen as a space of projection, that of the architect\u2019s projects, and the fiction which is projected over the jungle and its mythologies. This script, which never became a film, describes the Amazonian escape of an Italian political journalist\u2014an existential screenplay in which T, the reporter, and S, the young anthropologist, get lost in the jungle after a plane crash. The script of Tecnicamente Dolce<\/em> ends on the jungle\u2019s edge with a view over the city of Brasilia in the distance. This is the only concrete point of contact in Cinela\u0302ndia<\/em> between the film-maker Antonioni and the architect Niemeyer. Other fragments of stories connected with the forest and its myths are associated with the script. The voices taken from J.G. Ballard\u2019s The Crystal World<\/em>, from an interview with Duras, and also from Cannibal Metaphysics<\/em> by the Brazilian anthropologist Eduardo Viveiros de Castro, thus increase the number of viewpoints and short-circuit the narrative.<\/p>\n","protected":false},"featured_media":4047,"menu_order":0,"template":"","class_list":["post-2489","oeuvres","type-oeuvres","status-publish","has-post-thumbnail","hentry"],"yoast_head":"\n
\nBeltrame and Turpin are installing a device in it\u2014a 16mm projector which lives in and activates the house which is then filmed and meticulously observed as an ecosystem in relation to its environment\u2014structure, fauna, flora, climate. These fiction-generating elements are brought together in a prismatic way.
\nSo the house plays host to stories. The one forming the film\u2019s main outline is the voice-over reading, in Italian, of fragments of Tecnicamente Dolce<\/em>, an Antonioni script dating from the 1970s.<\/p>\n