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O Amor é Cego

Henrique searches for a “film frame” in a roll of an old celluloid in a church of his dream. Maria engages in the futility of connecting to a mobile phone call and surrenders to the experiences of Salomé’s unrelinquished love for John Baptist. Manuel, in the true vision of his blindness, encounters the sacred frame of the saint that Henrique has finally found. The three characters met unknowingly in a church where the blind angels are the only spectators of their interior narratives.

Film notes

Azores - a volcanic archipelago, the remotest periphery of Europe. The Atlantic Ocean all around lend to its primordial isolation and suffering. The ever green landscape of the island hides the boiling lava in its bell. It is calm outside but fire within.
Calcutta, the city of joy, 15 million souls, an ever bustling humanity. The debates never end in the film school around the smell of 35 mm negatives and sleeping over steenbeck ; it was still the secret knowledge of film making.
Out of film school, Paradzanov no more holds your hand and you stand alone facing the inevitable. What do they want to see? What do you want to show? The eternal uncertainty emanating from the birth of cinema still persists – where does it owe its’ allegiance to factory or t o art.
The 18th. century Urdu poet Mir wrote:
“ She has not understood me and will never perceive my love for her! Oh Lord! I pray you : Give her a different heart or give me a different tongue”
As Salomé wished for John Baptist’s head as a retribution of her unreciprocated love and the “image” becomes democratized through digital captures reversing the power hierarchy of the “viewer” and the “viewed” and is being shared rapidly in public sphere across the web universe faster than any growing chromosome, the light goes out from celluloid.
Is it an end or a new beginning?
“O Amor é cego” (Love is Blind) is a digital ode to celluloid where three unconnected characters unknowingly meet in a church of blind angels and fail to connect with each other. But the power of faith of Manuel, the blind old man, reunites them in the digital space of “you tube” through the eyes of Maria, the young girl with the mobile phone (not to be confused with The Man with Movie Camera) as Maria finally becomes aware that she is being shot too as a character of “Love is Blind”.

Copyright

Copyright © 2012 Sudip Chattopadhyaya

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Information on this profile is provided by the film owners and/or compiled from available sources | Profile updated 23 Mar 2013