The Mirrah Iañez film, Living Statues, our second co-production (right after The Man Who…) has finished shooting and now is in the editing room. This is the third film of young Mirrah, who is about to graduate from Film at the Anhembi Morumbi University, in São Paulo. Mirrah had already made two exercise-like films for different semesters during her course – the first, Journal Metamorphosis, was inpired by a short story from Argentine author Julio Cortazar, and the second, Belo Monte, talked about one of the most controversial subjects in Brazil in the last few years: the construction of the homonym power plant, near Xingu river, in the state of Pará, and its social-enviromental impact in the community, nature and mainly on the indian areas in the region. More than just an experiment, the film only testifies the politicized verve of its director, who keeps her HQ, the production company Ovo Frito Filmes, together with her College mates, who take on different areas when working.
“And this controversial and engaged verve continues”, says Francisco Costabile – editor of Living Statues, and who also says that, “we’ve discussed a lot about the format, the running time, and what exactly she wanted to convey with Statues. Because, above all, for Mirrah, stands the message she wants to pass”, says Costabile. The film is a documentary in the short film format, even though it’s Mirrah’s most ambitious and longer work so far – the first cut went way above 10 minutes and, “it will probably reach 17, 18 minutes”, states Francisco. “But there are a lot to be done, many things need refinement, be cut out. The funny thing is that time is literally transforming the film – much because it deals with time passing, how much time people spend looking at the street artists, the estatuístas, the ones who make a living making performances that are most of the times stigmatized by society. With the film, we’ve been trying to change that a bit.”
Shot entirely in the streets of São Paulo, with Canon 5D, using the artists themselves and their lines as counterpoints of the “plot” (“It’s amazing what they said, what they revelead about themselves, what they think about their work, the impact and curiosity they stir up on people”, says Costabile), the film has been mutating throughout the editing process. “Though Mirrah wrote a script, the chats we had were really important in order to give the artists of voice of their own, let them speak, and in the end those are the elements that are forming the core of the project, the thing that she wants to communicate.”
After the editing, which will take a few more weeks, next steps are sound design plus mixing. “The film is delicate, it’s a very feminine film, of a very private and personal vision”, says Costabile. “The sound must follow this idea, complementing the poetic images.”
Living Statues must be ready in the first semester of 2013.