Page 84 - Metropolis Magazine nº115

in the other person's shoes! the first scenes, on the third or relationship between the
fourth day of shooting, there protagonist and nature in the
Paulo MilHomens: Absolutely! was a décor I had chosen; it was context of the film.
He wants to put himself in the a beach—which is actually in the Hugo Vieira da Silva: The
other person's shoes. The movie's movie. Nicolas rides on a horse, Protagonist and Nature! The
premise served as a means to carrying his bag on his back. question is, what is nature? That
showcase the individuals who When I got to that location, which question appears in the movie,
worked together on the film. And I had visited the week before, too. However, my perception of
there were many who collaborated it had disappeared: the sea and Tahiti differs from Gauguin's
on the shoot! They understood the wind had made that lagoon portrayal in all his texts and
this dimension of the film and of disappear; it didn't exist! There articles. When he arrived,
our work. What we wanted to do was no possibility of making Gauguin expected to find pure
in that context. That was very rich a match cut with what we had nature. Untouched nature! The
and very productive! But it was filmed! However, within an hour, concept of nature equals pure,
really hard! we discovered a way to make it untouched, virgin. This is in line
work… with the ancient traditions of the
Is there an episode that was a Maori, among others. He wants
highlight for the whole team? Gauguin and Segalen versus to get away from civilisation!
A different episode or day in nature! Gauguin's different Go Wild! The modernists of this
production? perspective on nature. I'd era, who also drew inspiration
Paulo MilHomens: In one of like you to talk about this from impressionism, embraced

84 METROPOLIS FEBRUARY 2025