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Utopian Waves
Wallace Ferreira [patfudyda]
Brasil
2024.12.09
Tiempo de lectura: 3 minutos

"Soñar juntxs" , think about choreographies that allow us to cross public space, be together, be "us." We invited Patfudyda for our spotlight, while viniciux da silva writes about the piece that will accompany this year's close.

UTOPIAN WAVES

a film by patfudyda

20´

Legendary Ciara

Theuse Luz D'Pavuva

Preta Queen B Rull

Laxxota

Camera - Performers:

Idra Maria

Gabe Arnaudin

Sound design

Bida Sarô

Patfudyda, Legendary Ciara, Theuse Luz D’Pavuna, Preta Queen B Rull and Laxxota walk together, weaving an exercise that asks us the question: “Is striking a pose making a threat?” The girls’ journey takes place in the vicinity of the Inclusartiz Institute in Gamboa (Rio de Janeiro), interacting not only with the audience in the space, but also with us who attend the film-performance. In Black Gaze, Tina M. Campt notes: “A black gaze transforms spectators into witnesses and demands a confrontation. [...] When we participate as active witnesses in this confrontation, the black gaze we encounter creates complex and contradictory forms of intimacy.”

How to make a film without it being captured by the ghost of visibility? I would like to think of Ondas Utópicas as a fantasy of effeminate violence in which the mere presence of girls in a public space causes a crisis while, in the words of Jota Mombaça, “resisting the interpellations and violent attacks of cis-heteronormativity.” When we get together, something escapes, something needs to escape...we are all destined to be together. The film produces a symptom of collectivity – when the prey unite, the predator sleeps hungry.

-viníciux da silva

UTOPIAN WAVES

a film by patfudyda

20´

Legendary Ciara

Theuse Luz D'Pavuva

Preta Queen B Rull

Laxxota

Camera - Performers:

Idra Maria

Gabe Arnaudin

Sound design

Bida Sarô

Patfudyda, Legendary Ciara, Theuse Luz D’Pavuna, Preta Queen B Rull and Laxxota walk together, weaving an exercise that asks us the question: “Is striking a pose making a threat?” The girls’ journey takes place in the vicinity of the Inclusartiz Institute in Gamboa (Rio de Janeiro), interacting not only with the audience in the space, but also with us who attend the film-performance. In Black Gaze, Tina M. Campt notes: “A black gaze transforms spectators into witnesses and demands a confrontation. [...] When we participate as active witnesses in this confrontation, the black gaze we encounter creates complex and contradictory forms of intimacy.”

How to make a film without it being captured by the ghost of visibility? I would like to think of Ondas Utópicas as a fantasy of effeminate violence in which the mere presence of girls in a public space causes a crisis while, in the words of Jota Mombaça, “resisting the interpellations and violent attacks of cis-heteronormativity.” When we get together, something escapes, something needs to escape...we are all destined to be together. The film produces a symptom of collectivity – when the prey unite, the predator sleeps hungry.

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