Um Filme de Valentina Homem

Brócolis: transit, passage, transformation

Brócolis is a 15 min short fiction film, B&W shot in Super 16 and 16mm.

The film narrates the silent transformation undergone by Noa, on that develops at the crossroad between dream and reality, between what was there before and what is here now. The narrative remains in between, it remains in transit. The film narrates the experience or the life of Noa in the course of one sole day, perhaps only a few hours. This “present” is formed and informed by the past and what will come next. Noa, just like any one of us is a person in process. Brócolis is a fragment, a moving frame that briefly captures this perennial transformation.

Two years ago – after years working in audiovisual production in Brazil – I decided to pursue a master program in Film and Media Arts in the US. At that time I certainly had an intuition of but did not know precisely what would be my experience. On the day of my arrival to Philadelphia, I got an email from my dad, which read as follows:

“My dear little daughter, last night I had a dream. In the dream you were coming out of your mom’s womb. I woke up with the feeling that I had revived the whole experience of your birth. At the end I had you in my arms, all wrapped up. I was looking to you transfixed, hugging and kissing you. Then you said: brócolis.”

My dad’s dream is not exactly the origin of the film. Yet in many ways dream and movie are intertwined, because the dream announced the radical transformation my decision entailed. Brócolis was conceived and began to materialize during my first semester at Temple University, as I began collating ideas, fragments, memories, dreams and images that would be, later on, incorporated in the composition of a process/landscape – of a film.

As a process, Brocolis represents a crucial turning point in my artistic and professional life. To finalize this film with the best quality possible is for me an opportunity to search for a singular language, of maturing aesthetically as an author. Since it began to be produced I have covered most of the movie’s costs with my own financial resources – the project was awarded two small support grants from Temple University that total U$1700. Nevertheless, its post-production stage implies higher costs, with which – as a graduate student – I cannot afford. This is why I have decided call upon my networks of friendship and affection to engage in this collective effort as to complete the finalization of Brócolis the best way possible.


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