EDGAR PÊRA: RETROSPECTIVE - 19 NOV
19 NOV 2016
18h00 session:
Visions of Madredeus | 70 min.A dialogue between the music of Madredeus and Edgar Pêra’s film archives, Visions of Madredeus results from a series of film diaries recorded over twenty years, in which we see moments from the band’s concerts, backstage, public testimonies, recordings and travel with the musicians, from their first rehearsals in 1987, to their last concert tour, Amor Infinito (Infinite Love), which toured Europe and the Far East. Based on the director’s personal and testimonial perspective, the film follows the less visible side of a band that is constantly on the move, the musicians’ everyday lives, their relationship with different cities, providing an intimate portrait, in stark contrast with the staged superficiality of the standard media image.
22h00 session:
Punk Is Not Daddy | 70 min.Portrait of the first decade after the 1974 revolution, Punk Is Not Daddy is a journey through the 1980s through the testimonial and interventive perspective of the film-diaries of then-neophyte filmmaker archivist, Edgar Pêra. The film features (rare) images that document the development of modern Portuguese music: the final rehearsal of Heróis do Mar, a behind the scenes glimpse of the band, GNR, recording of the music videos of Rádio Macau, or the controversial finale of the Modern Music Contest of Rock Rendez-Vous, featuring the ultimate (anti) concert by Zao Ten de Farinha Master. This ethnographic view of modernity in Portugal is related to intimate images recorded by the director and historical facts that set the historical context. Paradoxically, as a film that captures the director’s youth, mixed with broader memories - the time gap between the original filming and the final editing reinforces the documentary nature of the images - Punk Is Not Daddy subverts the celebrated title of The Exploited’s debut album, in order to question, from the perspective of the present, the forerunners and anarchic (surviving) effects, compared with post-punk conformism.
VISIONS OF MADREDEUS, 2012 PUNK IS NOT DADDY, 2010
Camera, director and editing: Edgar Pêra Soundtrack: Madredeus: "Lisboa Rainha do Mar”, "Lá de Fora”, "Um Amor Infinito”, "A Cantiga do Campo”, "A Sombra”, ”Marcha Oriental”, "Maldito Dia Aziago”, "Matinal”, "O Brasil”, "Vaca de Fogo”, "O Ladrão”, "As Janeiras”, "Mudar de Vida”, "Canto de Embalar”, "Pregão”, "Os Senhores da Guerra”, "Vem”, "O Mar”, "O Pastor”, "O Olival”, "Tempestade”, "Brumas do Futuro”, "Céu da Mouraria”, "Cantador da Noite”, "Haja o que Houver”, "Vislumbrar / O Canto Encantado”, "Suave Tristeza”, "O Sonho”, "Ao Crepúsculo”, "Uma Estátua”, "Guitarra” Line producer: João Pinto Sousa Co-Production: Rodrigo Areias / Bando à Parte Format: video, colour, 70 min.
Camera, director and editing: Edgar PêraArchivist: João GomesCo-production: Bando À ParteFormat: video, black and white/colour, 70 min.
Visions of Madredeus | 70 min.A dialogue between the music of Madredeus and Edgar Pêra’s film archives, Visions of Madredeus results from a series of film diaries recorded over twenty years, in which we see moments from the band’s concerts, backstage, public testimonies, recordings and travel with the musicians, from their first rehearsals in 1987, to their last concert tour, Amor Infinito (Infinite Love), which toured Europe and the Far East. Based on the director’s personal and testimonial perspective, the film follows the less visible side of a band that is constantly on the move, the musicians’ everyday lives, their relationship with different cities, providing an intimate portrait, in stark contrast with the staged superficiality of the standard media image.
22h00 session:
Punk Is Not Daddy | 70 min.Portrait of the first decade after the 1974 revolution, Punk Is Not Daddy is a journey through the 1980s through the testimonial and interventive perspective of the film-diaries of then-neophyte filmmaker archivist, Edgar Pêra. The film features (rare) images that document the development of modern Portuguese music: the final rehearsal of Heróis do Mar, a behind the scenes glimpse of the band, GNR, recording of the music videos of Rádio Macau, or the controversial finale of the Modern Music Contest of Rock Rendez-Vous, featuring the ultimate (anti) concert by Zao Ten de Farinha Master. This ethnographic view of modernity in Portugal is related to intimate images recorded by the director and historical facts that set the historical context. Paradoxically, as a film that captures the director’s youth, mixed with broader memories - the time gap between the original filming and the final editing reinforces the documentary nature of the images - Punk Is Not Daddy subverts the celebrated title of The Exploited’s debut album, in order to question, from the perspective of the present, the forerunners and anarchic (surviving) effects, compared with post-punk conformism.
VISIONS OF MADREDEUS, 2012 PUNK IS NOT DADDY, 2010
Camera, director and editing: Edgar Pêra Soundtrack: Madredeus: "Lisboa Rainha do Mar”, "Lá de Fora”, "Um Amor Infinito”, "A Cantiga do Campo”, "A Sombra”, ”Marcha Oriental”, "Maldito Dia Aziago”, "Matinal”, "O Brasil”, "Vaca de Fogo”, "O Ladrão”, "As Janeiras”, "Mudar de Vida”, "Canto de Embalar”, "Pregão”, "Os Senhores da Guerra”, "Vem”, "O Mar”, "O Pastor”, "O Olival”, "Tempestade”, "Brumas do Futuro”, "Céu da Mouraria”, "Cantador da Noite”, "Haja o que Houver”, "Vislumbrar / O Canto Encantado”, "Suave Tristeza”, "O Sonho”, "Ao Crepúsculo”, "Uma Estátua”, "Guitarra” Line producer: João Pinto Sousa Co-Production: Rodrigo Areias / Bando à Parte Format: video, colour, 70 min.
Camera, director and editing: Edgar PêraArchivist: João GomesCo-production: Bando À ParteFormat: video, black and white/colour, 70 min.
