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THE METAMORPHOSIS OF BIRDS

A METAMORFOSE DOS PÁSSAROS

By Catarina VASCONCELOS

NEW HORIZONS INT'L FILM FESTIVAL / NEW HORIZONS ASSOCIATION - as DISTR Theatrical, TV, DVD-video, VOD, POLAND / FEST

Drama - Completed 2020


Festivals
& Awards

Berlin IFF 2020 2020
FIPRESCI Prize
Taipei FF 2020
Special Jury Prize
Vilnius IFF 2020
Best Film New Europe-New Names
ndieLisboa International Independent FF 2020
Audience Award, Best Director
San Sebastián IFF 2020
Zabaltegi-Tabakalera Prize
Era New Horizons - Poland 2020
Grand Prix, Audience Award
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    • Year of production
    • 2020
    • Genres
    • Drama, Experimental, Female director
    • Countries
    • PORTUGAL
    • Languages
    • PORTUGUESE
    • Duration
    • 101 mn
    • Director(s)
    • Catarina VASCONCELOS
    • Writer(s)
    • Catarina VASCONCELOS
    • Producer(s)
    • Pedro FERNANDES DUARTE (Primeira Idade), Joana GUSMÃO ( Primeira Idade), Catarina VASCONCELOS (Primeira Idade)
    • Synopsis
    • My mother was more than just a mother. She was a tree. This confession is the key to the Portuguese director’s essay, which won a FIPRESCI award at the Berlinale. Autobiographical though not completely true (after all, the rules are determined here by postmemory), the story takes viewers on a journey through the lives of three generations; in addition to the actors, Catartina Vasconcelos herself and members of her family also appear in the film. The focal point, however, is a mother-tree figure that provides roots as well as branches that one can leap from in order to fly away. This intergenerational point of connection also reconciles us with nature—with its cycle of birth and death. The aim of this form of poetic archeology is to recall not just the spirit of the deceased mother but also the careful—like brushstrokes—revelations of the universal mechanisms of change that all living things undergo: whether birds, people, trees, houses, or memories. In this film, the archaeologist’s brush is sometimes the painter’s brush, because the subtly composed static shots often bring to mind the works of masters (even still lifes). At the same time, they remind us of the dual nature of cinema, which, in desperately trying to rescue, destroys everything it captures in the frame.
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