ANTES DO CAFÉ (2021)

 

With production, writing, performance, and direction by Andrea Villela, "Antes do Café" is an adaptation of Eugene O’Neill’s monologue. O’Neill’s original play presents Mrs. Rowland, Alfred’s wife, who must navigate her husband’s routine and “presence.”

Filmed during the Covid-19 pandemic, Andrea’s adaptation immerses the audience simultaneously in the dark moments of social isolation, the conflicted relationship between husband and wife, and, most importantly, the protagonist’s psychological and emotional state.

The repeated mention of the husband’s name is deliberately unsettling. Calling out “Alfredo” multiple times serves to convey the protagonist’s anger, anguish, and disappointment—essentially, everything she feels toward her husband in their situation. The short doesn’t merely show a woman frustrated with her spouse; it portrays a complex, worn-out relationship, full of subtle and direct nuances.

With intimate cinematography, the film doesn’t focus heavily on Alfredo, despite his name being spoken throughout. The handheld camera, tightly framing the protagonist’s face, reflects her emotional state, furious at what her husband has done (or continues to do). The soundtrack is another standout feature. Every sound is precisely placed, unfolding slowly yet impactfully.

At first, while preparing coffee, the ambient sound feels natural, comfortable, and routine. What follows, however, gradually escalates, preparing the audience for an emotional storm. The rumbling thunder mirrors the protagonist’s mental, emotional, and psychological turmoil.

Although there is essentially only one visible character (two, if you count the hidden Alfredo), Andrea Villela extracts the maximum from the text, both through the narrative’s density and her visceral performance. One can sense her desperation even at the beginning, when she calmly and subtly calls for Alfredo. At the same time, a peculiar calm persists even when she screams and lashes out at him—as the saying goes, “it’s the kind of calm only despair can give.” The protagonist blends calm and agony, acceptance and denial, strength and weakness—intensely, with each emotional barrier crossed in an instant. This ambiguity illustrates how one feeling can swiftly give way to another.

"Antes do Café" tackles heavy, intense themes, especially once Alfredo’s true situation is revealed. Only then can the audience fully understand the wife’s behavior—her anger, her pain, and perhaps the weight of guilt she carries, whether deserved or not. Her insistence on calling Alfredo can be seen as a form of release. It seems that calling him may be the only thing left in her life, a hope that he might respond. In this way, the film explores loss and loneliness, leaving viewers to question Alfredo’s whereabouts and why he does not answer. The protagonist deceives herself, living in an illusion—intentionally or not. In a state of mental confusion, it is impossible to determine with certainty what she truly believes, thinks, or experiences as reality or illusion.

With limited resources and physical constraints, Andrea Villela delivers a powerful performance, exposing her character’s fragility. She also demonstrates remarkable versatility as writer, director, and editor. The physical limitation imposed by the pandemic strengthens the film, making viewers feel the oppression of the confined space that disturbs the protagonist. This reinforces that she is not only trapped by the physical environment but also by her life circumstances. The setting and soundtrack convey the mental state of a character pushed to her limits due to Alfredo’s actions. And the lingering question remains: even if she is not responsible for Alfredo’s fate, why does she feel such guilt?

ASTARTE (2017)

 

The short film "Astarte" dives deeply into supernatural and paranormal horror, presenting a gripping and tension-filled narrative. The story follows a group of friends who, driven by curiosity and fascination with the occult, decide to use a Ouija board to try to communicate with the dead. What begins as a seemingly innocent attempt to explore the unknown quickly spirals out of control when a demon emerges, progressively possessing each of the friends.

With direction and screenplay by Danilo Morales, the short stands out not only for its storyline but also for its ability to build a dense and frightening atmosphere. From the very first moments, "Astarte" makes masterful use of visual and sound aesthetics to heighten fear and suspense. The cinematography is dark, alternating between dim lighting and deep shadows, creating an almost suffocating environment. This visual approach is enhanced by meticulous production design that reinforces the feeling of isolation and looming danger, while the unsettling soundtrack punctuates every twist with precision, intensifying the terror as the events unfold.

The use of practical effects and makeup is another element worth highlighting. The depiction of the possessions is carefully crafted to convey a disturbing sense of realism. Each transformation under the entity’s influence is marked by detailed makeup work that amplifies both the graphic and psychological horror, creating a visceral connection with the audience. These creative choices make the atmosphere of "Astarte" sinister, establishing the sense that danger could strike at any moment, which makes the possessions even more frightening and impactful.

The cast, featuring Tamires Osses, Fercho Vilela, Erick Camargo, Stephanie Gomes, André Paixão, Loraine Ribeiro, and André Machado, delivers performances that elevate the quality of the short. The chemistry among the actors and the way they portray growing fear and despair contribute significantly to the immersion of the story. Each character is developed in a way that fosters a sense of closeness with the viewer, who follows their journey into absolute terror as the situation becomes increasingly unbearable.

One of the most intriguing aspects of "Astarte" is its exploration of Judeo-Christian mythology through the entity that gives the film its title. Astarte, originally a goddess worshiped in the ancient Middle East, was later associated with malevolent forces in Christian tradition and equated with Astaroth, one of the great demons of medieval demonology. This reinterpretation is intelligently incorporated into the short, lending the narrative symbolic and mythological depth. The introduction of this demon not only feeds into the graphic horror but also delivers a strong psychological impact on the characters, as the presence of Astarte challenges their understanding of what is real and what is supernatural.

Beyond explicit horror, "Astarte" also invests in an intense emotional and psychological charge. As the friends become possessed, the short explores the signs of despair and helplessness in the face of uncontrollable forces. The camera’s proximity to the characters increases the sense of intimacy with the terrifying events, creating the discomfort necessary to truly “feel” the film. The short employs agile cinematography, with quick movements, tight angles, and abrupt cuts, all of which heighten the tension and create an unpredictable atmosphere. This choice effectively keeps the audience on edge, feeling as powerless as the characters in the midst of chaos.

"Astarte" is without a doubt a must-watch for fans of the horror genre, especially those who appreciate narratives of demonic possession and psychological terror. With confident and efficient direction by Danilo Morales, the film proves that even with limited resources it is possible to craft a work that both frightens and fascinates, using technical and narrative elements with precision. It is a strong example of how horror can be built on simplicity and creativity, offering an immersive and terrifying experience.

With a mix of graphic horror, possession, and psychological elements, "Astarte" is a powerful short film that explores the primal fears of the unknown and the supernatural with striking effectiveness.

ALMA NO OLHO (1973)

“Alma no Olho”, directed, written, and performed by Zózimo Bulbul in 1973, is one of the fundamental landmarks of Black cinema in Brazil, especially regarding the aesthetic and political representation of the Black body. The film, just over 10 minutes long, uses Bulbul’s body as a central narrative tool to explore multiple layers of meaning related to slavery, the struggle for freedom, and Black resistance, all through an impressive physical performance that dispenses with traditional dialogue.

The work is characterized by its experimental approach, using a non-linear structure where the soundtrack plays a role as important as the image itself. The music of John Coltrane, with the track “Kulu Sé Mama,” helps guide the rhythm of the narrative and amplifies the meaning of the protagonist’s gestures, who seems to move through different emotional and historical stages. Coltrane, known for his innovation in jazz, lends the film a spiritual and transcendent atmosphere that perfectly aligns with Bulbul’s aesthetic proposal of representing the pain and resistance of the Black people through movement.

The narrative of “Alma no Olho” is profoundly symbolic. Zózimo Bulbul’s body on screen becomes a metaphor for the Black experience in Brazil, from the shackles of slavery to the ongoing struggle for freedom. The film offers a visual reflection on how the scars of slavery still mark the present, but also on the possibility of overcoming and emancipation. Through slow and deliberate gestures, Bulbul explores the duality between oppression and liberation, imprisonment and transcendence, as if the body were bound by invisible chains yet incessantly sought to break free from them.

The film’s aesthetics are minimalist, with the use of black and white intensifying the contrast and giving the work a timeless aura. The absence of color reinforces the idea that the themes addressed, racism, slavery, freedom, and Blackness, transcend time and space, being issues that do not belong solely to the past but continue to echo in the present. The cinematography, combined with Coltrane’s soundtrack, creates a dense atmosphere where music is as decisive as the artist’s movements. Every pause, every look, every movement in the film carries symbolic weight that goes far beyond what is shown on screen.

Bulbul’s work was created at a moment of great political repression in Brazil, during the height of the military dictatorship. In this context, the narrative of “Alma no Olho” becomes even more powerful, as the film not only reflects on racial and historical issues but also on the curtailment of individual freedom. Zózimo Bulbul, with his courageous stance and willingness to address delicate subjects, was summoned to testify before the Federal Police, accused of subversion and of embedding subliminal messages against the military government in the film. At that time, any artwork that questioned the status quo was viewed with suspicion by the regime. The filmmaker ultimately chose to go into exile in 1974, living in countries such as the United States, Portugal, and France, while continuing to produce his art even far from Brazil.

“Alma no Olho” also stands out for the way it uses the Black body as a vehicle of expression and resistance. In Brazilian cinema, historically dominated by white narratives, Bulbul’s film emerges as both an affirmation of Black identity and a critique of structural racism. The protagonist’s body is not merely an object of observation, but rather the active subject of the narrative, questioning and challenging power structures. This focus on the body as a form of artistic expression is one of the film’s most innovative features and one of its greatest contributions to Brazilian and world cinema.

Another important aspect of the film is how it deals with the notion of time. Bulbul’s performance traverses different historical and symbolic moments, as if the protagonist were trapped in a cycle of oppression and liberation that repeats across centuries. Although slavery was officially abolished in Brazil in 1888, it continues to cast its shadow over the Black population to this day. “Alma no Olho” captures this sense of historical continuity, showing that the scars of the past remain present in the bodies and minds of Black people.

Beyond its aesthetic impact, the short film also stands out for its political relevance. Bulbul uses cinematic language to propose a critical reflection on racism and social inequality in Brazil, a country that, despite its self-proclaimed “racial democracy,” continues to marginalize and oppress a large part of its Black population. The film, therefore, is not only an artistic manifesto but also a cry of resistance against a system that perpetuates exclusion and discrimination.

The legacy of “Alma no Olho” is undeniable. More than five decades after its release, the film continues to be studied and celebrated as one of the most important works of Brazilian cinema. Its influence can be seen in contemporary Black filmmakers who, like Bulbul, use cinema as a tool of denunciation and resistance.

“Alma no Olho” is a masterpiece of Brazilian experimental cinema that transcends the barriers of time and space. Through a combination of music, performance, and visual symbolism, Zózimo Bulbul created a film that not only reflects on the condition of Black people in Brazil but also on the very nature of freedom and oppression. It is a film that demands to be seen and revisited, not only for its artistic value but also for its contribution to the ongoing discussion on race, identity, and resistance.

            This work is both an invitation to reflection and a call to action. In a country where racism remains a reality, “Alma no Olho” continues to resonate as a powerful reminder of the importance of the struggle for justice and equality.

 

PEDAÇOS (2013)

     

With direction by Athanasios Kalogiannis and screenplay by Bruno Autran, "Pedaços" stands out as an outstanding psychological thriller that immerses the viewer in the anxieties and disturbances of a woman haunted by fragments of confusing memories invading her mind. The story unfolds with an immersive rhythm, taking the audience on an intense journey filled with suspense and moments of pure discomfort.

The performances of Carol Portes and Bruno Autran are among the film’s fundamental pillars, bringing extraordinary dramatic weight to every scene. Carol’s performance, in particular, is of rare intensity, reflecting her character’s fragile psychological state, while Bruno complements her with an equally powerful portrayal. Together they create an engaging and unsettling dynamic, providing the audience with the fragments needed to piece together the enigmatic puzzle unfolding on screen.

"Pedaços" masterfully employs the classic elements of a psychological thriller, skillfully blending hallucinations and memories to create an atmosphere of constant tension. The narrative is built gradually and meticulously, with director Athanasios Kalogiannis slowly filling in the gaps in the protagonist’s mind and revealing the complexity of her mental condition. The audience, like the character, becomes trapped in a labyrinth of disconnected memories, never truly knowing what is real or the product of a disturbed mind.

The technical aspects of "Pedaços" are equally praiseworthy. The cinematography is oppressive, capturing the character’s anguish and reflecting her inner confusion. The art direction, with its attention to the smallest environmental details, adds layers to the suspense, while the editing, precise and timely, guides the viewer through an emotional rollercoaster. The original score is used with great effectiveness, intensifying the sense of mystery and psychological terror, while the makeup contributes to the realism of the most disturbing scenes, reinforcing the protagonist’s psychological state.

The film keeps the viewer in a constant state of alert, presenting clues and pieces of the puzzle that, even when they seem to fit, still leave a lingering sense of unease. The narrative goes beyond convention, prompting the audience to speculate on what is really happening. Who is the woman we see on screen? What truly happened in that house? And who is the man who shared her bed? These questions echo throughout the film, keeping the audience glued to the screen until the very last second.

Even when things appear to make sense, the atmosphere of "Pedaços" remains dense, carrying a sense that something even darker and more disturbing is lurking nearby. With each new revelation, the tension rises, and the viewer is drawn into an emotional whirlwind alongside the protagonist.

The climax delivers a breathtaking and unpredictable resolution that, while answering some questions, leaves others open to interpretation, allowing the audience to reflect and question what was real and what was imagined. This narrative choice reinforces "Pedaços" as a film that does not underestimate the intelligence of its audience but challenges them to uncover the layers of the story.

"Pedaços" is a work that fulfills its purpose exceptionally well, combining narrative and dramatic cohesion with impressive direction and performances. It is a film that both disturbs and fascinates, leaving its mark and justifying all the praise it may receive.

Watch: Pedaços (2013)