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Cineclube Grupo Estaçãoecontracampo LONGAS-METRAGENS: The Coast Line (curta-metragem) 1980 The Falls Beside the sea (curta-metragem / 1982 O Contrato do Desenhista (The Draughtsman's TV) Contract) 1984 Making a Splash (curta-metragem / A Zed & Two Noughts TV) 1985 Zoo - Um Z e Dois Zeros ( ) apresenta 1987 A Barriga do Arquiteto (The Belly of an Architect) A TV Dante, Canto 5 (TV) 1988 Afogando em Números (Drowning by Numbers) 1985 Inside Rooms – 26 bathroons (curta-metragem / TV) sessão 1989 O Cozinheiro, o Ladrão, Sua Mulher e o Amante (The Cook, the Thief, His Wife and Her Lover) 1988 Fear of Drowning (curta-metragem / TV) cineclube 1991 A Última Tempestade (Prospero's Books) A TV Dante, Cantos I-VIII (TV) 1993 O Bebê Santo de Macon (The Baby of Mâcon) 1989 Hubert Bals Handshake (curta- Lumière et compagnie 1995 Lumière e Cia. ( ) - episódio metragem) The Pillow Book 1996 O Livro de Cabeceira ( ) 1991 A Walk Through Propero's Library 8 1/2 Women 1999 8 Mulheres e Meia ( ) 1992 M is for Man, Music, Mozart 2003 As Maletas de Tulse Luper - Parte I: A História de Moab (curta-metragem / TV) The Tulse Luper Suitcases, Part 1: The Moab Story ( ) Rosa (curta-metragem) The Tulse Luper Suitcases, Part 3: The Antwerp Darwin (média-metragem) The Tulse Luper Suitcases, Part 2: The Vaux to the Sea 2004 1994 Stairs 1, Geneva Visions of Europe Visões da Europa ( ) - episódio 1997 The Bridge (curta-metragem) 27 de Outubro de 2004 - Ano II – Edição nº 64 1999 The Death of a composer: Rosa, a CURTAS, MÉDIAS, VÍDEOS E PRODUÇÕES PARA A TELEVISÃO: Horse Drama (TV) 1962 Death of Sentiment (curta-metragem) 2001 The Man in the Bath (curta- 1966 Train (curta-metragem) metragem) Tree (curta-metragem) 1967 Revolution (curta-metragem) Five Postcards from Capital Cities (curta-metragem) “Se as bolsas da Gucci ainda estivessem na 1969 Intervals (curta-metragem) moda, Greenaway poderia carregar seus 1971 Erosion (curta-metragem) roteiros dentro delas” 1973 H is for House (curta-metragem) Derek Jarman 1975 Windows (curta-metragem) “Se você quer contar histórias, seja um escritor, Water (curta-metragem) não um cineasta” Water Wrackets (curta-metragem) Peter Greenaway 1976 Vertical Features Remake (média metragem) ) A “Não penso que vimos cinema ainda. Penso 2 Goole by Numbers (curta-metragem) I que vimos 100 anos de texto ilustrado” 4 1977 Dear Phone (curta-metragem) Peter Greenaway 9 F 1 1978 A Walk Trough H (média-metragem) ( 1-100 (curta-metragem) “Criação, para mim, é tentar orquestrar o universo A y para entender o que nos cerca. Mesmo que, para Eddie Kid (curta-metragem) S a alcançá-la, usemos todos os estratagemas que ao R Cut above the Rest (curta-metragem) w E final se provem completamente incapazes de a 1979 Women Artists (curta-metragem) manter o caos à distância” G n Leeds Castle (curta-metragem) Õ Peter Greenaway e O Zandra Rhodes (curta-metragem) e Ç “Não quero me tornar um cineasta numa torre r 1980 Lacock Village (curta-metragem) de marfim. Soa estranho, mas quero ser um G A M Country Diary (curta-metragem) cineasta do mainstream. Quero a maior r 1981 Act of God (curta-metragem / TV) audiência possível que possa encontrar – mas, T e L claro, nos meus termos” t I I Terence Coran (curta-metragem / TV) A ÚLTIMA TEMPESTADE e Peter Greenaway 1983 Four American Composers (TV) F P C de Peter Greenaway sessão cineclube próxima sessão O filme, inspirado em A Tempestade, de William A ÚLTIMA TEMPESTADE – França/ Itália/ Mediação do Debate: 3/nov VERMELHO SANGUE Holanda/ Inglaterra/ Japão, 1991, cor, 124' Shakespeare, faz da tela um livro aberto. Próspero Direção: Peter Greenaway Roteiro: Peter Eduardo Valente e Ruy Gardnier. de Arturo Ripstein escreve sua história enquanto a narra e interpreta. Greenaway, baseado na peça A Tempestade, de Vítima da traição de seu irmão Antônio e da luta do William Shakespeare Fotografia: Sacha Vierny Programação e Produção: Montagem: Marina Bodbijl. Trilha Sonora: Grupo Estação e Contracampo. rei de Nápoles pelo poder, Próspero perde o A Michael Nyman Produção: Philippe ducado de Milão e, obrigado ao exílio, desembarca C Carcassonne. Elenco: John Gielgud (Próspero), I Michael Clark (Caliban), Michel Blanc (Alonso), realização apoio colaboração em uma ilha com sua filha Miranda e com alguns N dos livros mais preciosos de sua biblioteca. Ao C Erland Josephson (Gonzalo), Isabelle Pasco É E (Miranda), Tom Bell (Antonio), Kenneth T S chegar o momento propício, Próspero utiliza seus Cranham (Sebastian), Mark Rylance (Ferdinand), P conhecimentos para vingar-se, reparar o passado, A Gerard Thoolen (Adrian), Pierre Bokma O H (Francisco), Jim van der Woude (Trinculo), N perdoar a seus inimigos e, finalmente, renunciar a C I I Michiel Romeyn (Stephano), Orpheo (Ariel), S seus poderes mágicos. F Paul Russell (Ariel), James Thiérrée (Ariel). www.estacaovirtual.com www.contracampo.com.br “Por que realizar uma obra, se é tão belo apenas sonhá-la?”, questiona Pier contudo, inusitado no cinema de Greenaway que, em Paolo Pasolini em Decameron (Decameron, 1972). Peter Greenaway, em A geral, prefere o humor negro a fim de revelar o cinismo Última Tempestade, transforma os delirantes sonhos vingativos de das relações pessoais e dos códigos sociais que as pautam, Próspero (John Gielgud), Duque de Milão exilado em ilha distante com sua seja na mãe e nas filhas que matam os maridos em filha e seus livros, em fatos reais, para refletir acerca da criação artística, ao Afogando em Números; seja no estupro coletivo como mesmo tempo angelical e diabólica, pois, embora capaz de gerar a beleza método de punição à falsa gravidez em O Bebê Santo de redentora e de absorver todo o conhecimento do mundo, traz consigo, Macon (The Baby of Macon, 1993); seja no exótico jantar inseparável, o poder do artista, tanto sobre a obra e os personagens, quanto servido ao final de O Cozinheiro, O Ladrão, Sua Mulher e sobre o público para quem se dirige. o Amante (The Cook, The Thief, His Wife and Her Lover, 1989). Trata-se, por certo, de mostrar o poder que perpassa Peter Greenaway adapta A Tempestade, de William Shakespeare: a e que desequilibra o contato entre os homens, visto que biblioteca com que Próspero é exilado - pelo próprio irmão, que lhe toma os desiguala: na disputa pelo controle da exposição entre o ducado para aliar-se ao Reino de Nápoles – permite ao cineasta inglês Stourley Kracklite (Brian Dennehy) e Caspasian Speckler instaurar a intensa intertextualidade que caracteriza seus filmes, (Lambert Wilson) em A Barriga do Arquiteto; nos visualmente expressa através do aproveitamento da superfície do quadro – enquadramentos precisos e arbitrários de Mr. Neville sobreposição e divisões de imagens dentro da tela, uso gráfico dos textos, (Anthony Higgins) para seus desenhos, aos quais dispensa quebrando a linearidade temporal da narrativa ao estilhaçar o espaço para a mesma violência com a qual chantageia sexualmente aproximá-lo da tela do computador, hipertextual por excelência, com links aquela que o emprega em O Contrato do Amor (The que remetem sempre a outros links. Dessa forma, enquanto Próspero, Draughtman’s Contract); na obsessão de Greenaway pelos cercado por figuras mitológicas (sobretudo Ariel e Calibã, o Anjo e o números, que servem para ordenar, para sistematizar e, Demônio, respectivamente), escreve a trama de vingança, Greenaway por fim, para anular qualquer afeto ou sentimento dos aproveita para relacionar a obra em gestação com todos os livros que personagens neles imersos. ajudaram a construir o imaginário do artista, que agora se apropria e se utiliza da rede de signos conhecida a priori a fim de criar o novo, ato em si Conforme evidenciam tanto o pré-cineasta encarnado por mágico, misterioso e inexplicável, exprimindo os sonhos fantásticos que Mr. Neville, quanto Nagiko (Vivian Wu), a qual domina os lhe atravessam a alma e o corpo. corpos dos amantes ao usá-los como páginas em O Livro E de Cabeceira (The Pillow Book, 1996), a arte se constrói A Última Tempestade, no entanto, não cai nas autocitações vazias que D enquanto estratégia de controle. Próspero, em A Última marcam, por exemplo, Oito Mulheres e Meia (Eight and A Half Women, Tempestade, detém o poder sobre os personagens que A 1999) e As Maletas de Tulse Luper, A História de Moab (The Tulse Luper cria, pois, literalmente (é o próprio John Gielgud quem fala T Suitcases, The Moab Story, 2003), em que Peter Greenaway se preocupa por eles), dá-lhes voz. Para perpetrar sua vingança, somente com o próprio umbigo. Se em Oito Mulheres e Meia cada S escraviza Ariel e Calibã. Frente à rebelião do segundo – a seqüência se inicia com a página do roteiro que a origina – de modo que a E qual marca a independência progressiva das demais cena fecha-se sobre si mesma –, e se em As Maletas de Tulse Luper, A P figuras em cena do jugo do artista –, resta a Próspero . História de Moab há a onipresença de referências às obras anteriores do apenas a obediência do primeiro, a quem promete libertar a cineasta – a repetição do mesmo acontecimento três vezes, bem como a d M i caso o objetivo a que se propõe seja alcançado. e reaparição da personagem Cissie Colpitts, as quais se ligam a Afogando em E m l Números (Drawning by Numbers, 1988), ou o fato de Tulse Luper ter escrito Ariel, mas também Próspero, pois enquanto Ariel executa as T A o roteiro de A Barriga do Arquiteto (The Belly of an Architect, 1987) –, em A ações no mundo imaginado por Próspero, este igualmente e Última Tempestade, ao contrário, os livros que pontuam a narrativa acabam representa a ponte entre o universo cinematográfico visto d A o por estruturá-la, na medida em que (como aponta a seqüência na qual na tela e o público para o qual ele se destina.
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