ramaldarproductions

Coronantine Review by Pedro Ludgero Kiarostami taught us that a car trip can be a film. And further back in time, Rossellini showed that, if there is an urge to document a moment in history and you haven’t got enough money to film  properly , you can film with whatever means you have access to. Thus, Bruno Resende decided to use his mobile phone to record images of Porto (in northern Portugal) during the Easter night of 2020, when the inhabitants of that beautiful city were being forced to home confinement by a ruthless and mysterious virus. The combination of a phone camera with the movement of a car led to long shots that were intended to embrace all sorts of chance encounter. The strategy certainly paid off, since the film manages to reveal some unexpected ironies: the billboard where we can read “Brave Nation” (the bravery of staying safely at home…), or the graffiti that asks “And the clown is me?”, which might force us to recall the oniric interlude where the artist provides her