Bonsái

The same situations repeat themselves and reality and fiction are confused inside the characters minds, to create a singular, circular film. Nature is there as a generous background, while literature’s importance obscures everything, especially the truth. Books and loud music serve as a distraction as everything is made up, except the fact with which the narrator opens the film: Júlio lives and Emília dies. They had Proust in common, but neither of them had read all of his books. The number of pages finished worked as an assurance, a way to keep the relationship alive, like a bonsai. Eight years later, Blanca is his new girlfriend, a believer in the small lies he tells her and himself. As windows, balconies, doors and bridges multiply in unconstrained shots, there is no way to cross over to see into who the characters really are. (Ágata Pinho)