Shadows in the House
In the outskirts of São Paulo, Gustavo, 15 years old, spends his days in a community center run by the Evangelical Church. His mother Giselle, an alcoholic, is summoned to the center where she is to meet Valeria, the worker responsible for communication with the authorities who decide on the custody validation of the children.
| Director | Justine Triet |
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São Paulo. At the forefront of a stage, elevated on high stiletto heels and donning a bright yellow two-piece suit, Valeria addresses a crowd of astonished faces with a powerful voice. Through her words resonate the values and principles advocated by the Evangelical Church. Yet, it is within the intimacy of her office, in her role as a social worker, that the camera first introduces her character, compelling us to pay attention to the subtlety of her voice tone. The boundaries between the two roles she occupies necessarily blur as Giselle confides in her. Giselle's fate depends on Valeria's decision: in this room, a report of ascendancy marks their positions, conditioning their relationship by extension. However, the daily scenes filmed within the family unit, where both assume a motherly role, contribute to the blurring of social boundaries that separate them. The themes addressed may imply otherwise, yet no role is fixed; each situation depicted can only be understood through a complex relationship to other facts. And then, there are very few men seen in Shadows in the House, further evidence of the emphasis that Justine Triet chooses to place on women in her cinema.
Yulia Kaiava
Tënk's editorial assistant
-
Français
36 mn
Language: Français -
English
36 mn
Language: English
Subtitles: English
- Année 2009
- Pays France
- Durée 36
- Producteur Ecce Films
- Langue Portuguese
- Sous-titres French, English
- Résumé court In the outskirts of São Paulo, Gustavo, 15 years old, whose mother Giselle is an alcoholic, spends his days at the assistance, a social center managed by the Evangelical Church.
- Ordre 2
São Paulo. At the forefront of a stage, elevated on high stiletto heels and donning a bright yellow two-piece suit, Valeria addresses a crowd of astonished faces with a powerful voice. Through her words resonate the values and principles advocated by the Evangelical Church. Yet, it is within the intimacy of her office, in her role as a social worker, that the camera first introduces her character, compelling us to pay attention to the subtlety of her voice tone. The boundaries between the two roles she occupies necessarily blur as Giselle confides in her. Giselle's fate depends on Valeria's decision: in this room, a report of ascendancy marks their positions, conditioning their relationship by extension. However, the daily scenes filmed within the family unit, where both assume a motherly role, contribute to the blurring of social boundaries that separate them. The themes addressed may imply otherwise, yet no role is fixed; each situation depicted can only be understood through a complex relationship to other facts. And then, there are very few men seen in Shadows in the House, further evidence of the emphasis that Justine Triet chooses to place on women in her cinema.
Yulia Kaiava
Tënk's editorial assistant
-
Français
Duration: 36 minutesLanguage: Français36 mn -
English
Duration: 36 minutesLanguage: English
Subtitles: English36 mn
- Année 2009
- Pays France
- Durée 36
- Producteur Ecce Films
- Langue Portuguese
- Sous-titres French, English
- Résumé court In the outskirts of São Paulo, Gustavo, 15 years old, whose mother Giselle is an alcoholic, spends his days at the assistance, a social center managed by the Evangelical Church.
- Ordre 2
