Uma nova geração de cineastas portuguesas: os casos de Catarina Ruivo e CláudiaTomaz

• Autores: Ana Catarina dos Santos Pereira
• Localización: Avanca / Cinema 2012 / Cine Clube de Avanca (dir.), 2012, ISBN 978-989-96858-2-6, págs. 774-781
• Idioma: portugués
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• Resumen

  • The history of Portuguese cinema directed by women is predominantly short. Except in the case of Barbara Virginia- the only female director that has made a long-feature film during the dictatorial period of Estado Novo - theparticipation of women in this area starts already in the 80s. The first generation is mainly represented by SolveigNordlund, Monique Rutler and Margarida Gil. The name of Teresa Villaverde will started to be more noticed afew years later. In the twenty-first century, new names began to appear, after a passage through the experientialshort film format. Catarina Ruivo and Cláudia Tomaz, on which I will focus this article, are now part of this secondgeneration of women who identify themselves as directors dedicated to fiction.While the former is a filmmaker of the quotidian, seeking the beauty and optimism in the occurrences, thoughdramatic, of the daily life; the second usually travels through the darkest places of nowadays. The Lisbon of CatarinaRuivo is the one from the suburbs, the dormitory cities, the routine that degrades relationships and the hope of thosewho show willingness to change. The Lisbon of Cláudia Tomaz is one more slum, where darkness perpetuates daysand death overshadows all characters. If in the first director’s case fiction dominates and congratulates reality, in thesecond is reality that imposes itself, with the rawness of images that stifle and constrain. Two female but antagonisticviews, which are part of a new generation of Portuguese filmmakers.