The inside out of the history, the cross lines behind the celebrated images, is what interests me to investigate and put into action in my films. The need to emphasize the presence of the past at the present moment is a creative impulse in my film practice. In the present world we remain separated from the knowledge of our past. In this film, researching memory is looking for statements that can disturb the despotic machine that serves this logic of forgetting.
Cinema is itself a practice of enchantment of life. What appears in the small rectangle of the film is the result of a ritualized practice of daily reframing. The unforeseen and the mysterious are always present in the movie. I shoot with 16mm equipment to activate this kind of inebriate state that the materiality of the film, in its permanent rotation through the camera's sprocket, communicates directly to the brain. The cinema is capable of shaking the spirit, regardless of any representation.
In the film “The Iguaçu Hydra” I turn myself to the past, not in search of an origin, but in search of a never-ending historicity, unfinished and always open. I question the colonial triangle in search of the hidden vertices, the places of refuge where the heart of the memory of a non-homogeneous experience of humanity beats. What is at work in this film is the breath of history, its affections and moods, which is never said, but is always present and we can perceive in the odor that comes with silence.