Arquivo de críticas 'A Noiva'

Short: A Noiva (2007)
Ana Almeida revives the Gothic Horror traditions of filmmakers like Jean Rollin and Jess Franco with this chilling short. Two young lovers set out to an abandoned house by the lake, but the local legends of a murdered bride prove to be true when they are each killed by her vengeful spirit! The gloomy atmosphere and cold color palette that are set in A NOIVA give it the same dark mood as THE GRAPES OF DEATH or LIVING DEAD GIRL, with much of the same eerie imagery as well. Almeida tops off the haunting visuals with two shocking deaths as she leads the way into her down ending. Euro-Horror enthusiasts should be sure to check this one out to help support the release of the full-length feature film!
Rating: 7/10.
Carl Manes (ilikehorrormovies.com/)
Fev.2011 - a propósito da exibição no Bleedfest LA


HORROR COM SOTAQUE DO NORTE
A Noiva (2006) é o título da curta-metragem (cerca de 6') que Ana Almeida realizou na zona de Entre-os-Rios, precisamente ali onde o Douro se tornou tristemente conhecido pelo temperamento inconstante e violento. A fotografia de Jorge Quintela captura perfeitamente esse temperamento sombrio e plúmbeo, puxando o espectador para o interior duriense, na peugada de Maria (Bárbara Magalhães) e Fernando (Rodrigo Santos), um jovem casal adúltero (ela tem um namorado, e não é o Fernando) que procura numa velha quinta abandonada o cenário propício à consumação carnal.
Ora, não é preciso consultar o acervo de clichés das séries Scream ou Scary Movie para saber que promiscuidade + sexo + local ermo + jovem atractiva = morte violenta. É a receita de qualquer slasher movie que tenha assombrado as telas desde que Halloween (1978) e Friday the 13th (1981) nos apresentaram Michael Myers e Jason Vorhees.
Ana Almeida e José Pedro Lopes (que assina o argumento) não deixam de seguir a fórmula, fazendo-o conscientemente e com uma piscadela de olho a David Lynch, numa citação directa de um momento iconográfico de Twin Peaks (ver foto). Não é o suficiente para distrair o espectador da escassez de argumento; a curta-metragem não chega a contar uma história, limitando-se a homenagear incontáveis sequências semelhantes de outros tantos filmes.
No entanto, funcionaria na perfeição como uma cena de um filme mais longo; a atmosfera está muito bem construída e, coisa agradavelmente surpreendente, Bárbara Magalhães e Rodrigo Santos conseguem manter uma interpretação segura e constante (apenas uma fala de Rodrigo me fez arreganhar os dentes pela pouca naturalidade). Os diálogos são naturais e realistas e nota-se na realização um flair visual para imagens ao mesmo tempo glaucas e inquietantes.
De lamentar apenas a fragilidade dos efeitos visuais gore e a curta duração, que priva a acção de um pouco mais de suspense e coerência. No geral, uma agradável surpresa que nos fará procurar futuros trabalhos desta jovem equipa. Ana Almeida realizou já uma outra curta-metragem (Uma Questão de Sangue, que não vi) onde trabalhou também com Rodrigo Santos e que é um título a procurar.
Mais informações sobre esta curta, podem ser encontradas aqui.
Resta-me agradecer ao José Pedro Lopes por me ter chamado a atenção para este filme e pela amabilidade de me ter cedido uma cópia a fim de poder escrever este pequeno texto.
JOÃO SEIXAS (spaceshipdown.blogspot.com)
Set.2007 - a propósito da exibição no Motelx


Lo acabo de ver en portugués y con subtítulos en inglés. La verdad es que está muy logrado, creo que el paisaje está bien escogido, aunque la pareja de novios... no sé, se dedican mucho a pastelear al principio y da poco pié a escenas de terror, pero bueno, todo se compensa un poco al final, que es lo que vale.
3.5 en 5
tallero (abandomoviez.net)

Entrevistas - Survivalismo

Entrevista a José Pedro Lopes para a Revista AMOL a propósito da estreia de "Survivalismo" no Shortcutz Porto (2 de Janeiro 2012)

Entrevista a Ana Almeida e José Pedro Lopes para o site do festival Jennifer's Bodies Film Festival da Escócia (19 de Fevereiro 2012). Pode ler neste link.

Entrevista a José Pedro Lopes para o site cinema7arte a propósito da estreia de "Survivalismo" no Arouca Film Festival (6 de Setembro 2011)

O Cinema 7ª Arte entrevistou autor da curta-metragem “Survivalismo”, José Pedro Lopes, que terá a sua estreia mundial no Arouca Film Festival 2011, que decorrerá de 9 a 11 de Setembro, integrando a selecção oficial. Está já também confirmada a sua presença na Competição Oficial pela Melies d’Argent no Abertoir 2011 – Wales’ National Horror Festival. Uma história simples que explora questões complexas, bem filmada, promete um final forte.

A história é sobre um homem que acorda com um saco na cabeça e uma corda em torno do pescoço, ele encontra-se em cima de uma cadeira numa situação onde um movimento brusco o pode deixar enforcado. Abandonado numa cave, o que será ele capaz de fazer para sobreviver?

“Survivalismo” é um thriller psicológico que disseca os Os Cinco Estágios do Luto do Modelo de Kübler-Ross e aplica-os a um cenário de rapto e uma envolvente de mistério. Enquanto o protagonista tenta descobrir porque foi colocado numa armadilha mortal, ele vai passando pelos estágios que o levarão à salvação: da Negação à Aceitação, passando pela Cólera, a Negociação e a Depressão. O projecto “Survivalismo” surgiu como um cruzamento entre o cinema experimental e o thriller psicológico de sobrevivência que visava surpreender e jogar com as expectativas do público. No entanto, a narrativa e a situação “impossível” onde a acção começava evoluiu para uma dissecção de como lidamos com situações difícil e com a perda.

Nascido no Porto em 1982, José Pedro Lopes é jornalista, produtor de cinema e televisão. Na área da ficção o seu primeiro trabalho foi como produtor e argumentista da curta-metragem de terror “A Noiva” de Ana Almeida. Este pequeno ‘slasher’ de 2007 foi selecção de 35 festivais de cinema, tendo vencido o prémio para Melhor Curta-Metragem Estrangeira no Bleedfest Los Angeles e integrado recentemente a Viscera Film Tour.

Em 2010, produziu a comédia romântica ‘Temperar a Gosto’ de Susana Neves (Menção Honrosa no Festival Porto7) e estreou-se na realização com a curtíssima ‘O Risco’ que tem vindo a surpreender festivais pelo mundo fora no ciclo Bicycle Film Festival e é finalista do Farcume – Festival de Curtas-Metragens de Faro.

Em 2011 foi um dos fundadores da produtora Anexo 82, uma produtora que se tem vindo a especializar na cobertura de eventos de índole cultural e social, conciliando o trabalho com os projectos de ficção. A produtora foi responsável pela distribuição dos dois filmes anteriores e é a produtora de “Survivalismo” que estreia esta semana no Arouca Film Festival.


Fale-nos do processo de filmagem da curta, que câmara foi usada, as condições logísticas, etc.
“Survivalismo” foi rodada com uma equipa muito pequena e em cenários muito controlados – todo o projecto foi rodado em apenas 2 dias. A nossa aposta em termos de formato foi para uma Canon 7D porque só as câmaras DSLR permitem criar o ‘look’ irreal e saturado em que o protagonista se encontra inserido.

Existe algum motivo em especial pela abordagem deste tema (os 5 estágios do luto)? De onde surge esta ideia?
Diz-se que “escrever é reescrever”. Este é um bom exemplo. Originalmente os 5 Estágios do Modelo Kubbler-Ross não faziam parte da história: o que surgiu primeiro foi o final e o resto do filme foi-se escrevendo a si próprio. Uma base teórica como os 5 Estágio do Luto ajudaram a trazer ordem à narrativa. Se “O Risco” era o filme inesperado dos Bicycle Film Festivals, então “Survivalismo” foi escrito para ser a surpresa conscienciosa dos festivais do fantástico: é uma espécie de protesto pacífico contra o “terror de tortura” que tem vindo a dominar o género.

Foi difícil convencer o ator a participar numa curta onde passa o tempo todo de pé com uma corda ao pescoço e onde nunca mostra a cara?
Já havia trabalhado com o Ivo Bastos antes, e ele é um ator fantástico. Foi a primeira escolha porque é dos atores mais expressivos e carismáticos que conheço e isso “passa” através do saco. Creio que no final acabamos por sentir o que ele sente. Não foi nada difícil ele aceitar o papel, bem pelo contrário. Ele é ator de teatro e os atores de teatro são muito físicos e capazes de aguentar tudo: a desafio de “Survivalismo” foi para ele coisa fácil.

Qual foi o percurso da curta até agora e como tem sido a reacção do público?
Para já ainda ninguém fora dos colaboradores e alguns amigos viram o filme, por tal, ainda não tenho bem ideia. Pedi a algumas pessoas da área ‘feedback’ e tem sido geralmente positivo. É um filme-mistério com um final muito forte e creio que é isso que tem sobressaído. Parece-me que o tem visto como um filme algo atípico para uma curta-metragem.

Quais são os próximos objectivos a alcançar com a curta e em que festivais é que irá passar?
O filme vai estrear no Arouca Film Festival deste fim-de-semana (dias 9, 10 e 11 de setembro). Em Novembro, irá ser exibido no Abertoir Horror Film Festival, como parte da competição do Melies D’Argent. Em termos de objectivos é sempre difícil delinear. As curtas quase não tem mercado, portanto quando mais exibições melhor, e quanto mais longe chegarmos com o trabalho melhor. A ficção surge como uma forma de levar o nosso trabalho a sítios onde naturalmente não iríamos, e conhecermos pessoas com que possamos vir a trabalhar.

Agora mudando um pouco de assunto. Sabemos que escreveu para a Take Cinema Magazine e para a Magazine HD. Continua a colaborar com as duas revistas?
Sou colaborador do site c7nema.net desde os seus primórdios e da Take Cinema Magazine desde 2010. Continuo a colaborar com ambos os projectos. Paralelamente, vou escrevendo para outras fontes noticiosas.

Que planos tem para um projecto futuro? Pode revelar-nos alguma coisa?
Um dos planos que temos é adaptar o argumento “Videoclube” escrito pela Ana Almeida. É um filme bastante diferente dos outros que fizemos, é uma história “coming-of-age” passada nos final dos anos 90 e o seu argumento foi selecionado para integrar o European Short Pitch da Nisi Masa em 2011. Também temos planos de fazer uma longa-metragem já que é, infelizmente, o formato que leva o cinema ao grande público e, derradeiramente, à sustentabilidade. Temos esse projecto mas será algo que só virá quando todas as estrelas se alinharem para o tornar possível.

autoria: Tiago Resende (cinema7arte)



Entrevista a José Pedro Lopes para Streaming Film Festival (7 de Novembro 2011)

A man wakes up with a bag in his head and a rope around his neck. He is standing on a chair in a very dangerous position, where a big movement would leave him hanged. Left alone in a basement, what will he do to survive?
’Survivalismo’ is a mysterious thriller that explores the Five Stages of Grief defined by the Kübler-Ross Model and applies them to a kidnap situation and a mystery storyline. While the protagonist tries to discover why he was put in such a deadly trap, he goes through the various steps that will lead him to salvation: from Denial to Acceptance, he lives through Rage, Negotiation and Depression.
But atonement doesn’t always lead to an happy ending, and the film’s surprise finale reveals that things aren’t always what they seem.
This project began as a ’survival’ thriller that aimed to surprise the audiences through playing with their expectations. But soon its storyline evolved into a dissection on how we deal with difficult situations and with lost.

--Interview--

Who is José pedro Lopes?
I was writer and director for ’Survivalismo’, an experimental horror short film that takes the Five Stages of Grief defined by the Kluber Ross Model and applies them to a mysterious kidnap situation.

What is Survivalismo about?
A man wakes up in an impossible situation. He doesn’t know why or how he got there - he only knows he has no way of getting out this trap where he was put into. His only solution is to talk is way out, but he doesn’t even know if anyone is listening.
As time passes, he goes lives all the Five Stages of Grief has he has no hope of ever escaping.

How did you start with film? And do you have an educational background in art or film?
I studied film at the Septima Ars Film School in Madrid, Spain. But I’ve been making films ever since I was a kid.

Could you explain how you work, what themes or concepts you use and what is important to you?
Film is a team work from the very beginning.
I had the idea for ’Survivalismo’ watching a pitching session at a production forum. I had this idea of pitching about a short film that was very physical and intense: what If the person presenting his idea was pitching for his life?
So, in a way, the hanged man in ’Survivalismo’ is kind of "pitching" his way out of this trap. That was a start point.
’Survivalismo’ is also a twist-ending based project, and the shocking ending revelation was at the very beginning of the project and the film was built around this wrong perception of reality that this ending implies. I though that having two realities would help create a very atmosferic and visual horror film: one that would actually be an experimental piece in terms of feelings and perception.

How long do you usually work on one project?
’Survivalismo’ was a fast-project actually. I had the idea in February 2011 and the film was finished in June. But usually a short film takes about a year from conception to being done.

Do you carefully plan the production process or do you work more intuitive?
I prefer to have everything fully planned. ’Survivalismo’ was all planned when we shot it and it looks and sounds and feels exactly like what was planned.
I find that having everything plan actually helps everything else on the film to be more intuitive. As a director, I had little to worry about Photography or Production Design on set for it was all already done. It was just me and the actor, and we were able to experiment a lot in terms of acting for everything else was planned.

How does the title relate to the work, and how do you find a fitting title?
I hate coming up with titles to short films. Usually, if it has a line, this ’The Line’, if it has a bride, it’s ’The Bride’. These pre-production titles end up being the final title for people who work on the film end up liking them.
In the case of ’Survivalismo’ I made an effort not to be like this. I didn’t want the title of to neither too psychological nor horror-themed. And I actually wanted it to be a title that would kind of hide the surprise ending.
’Survivalism’ is about people who are paranoid about the end of the world, and who prepare everything to survive. My protagonist is also very eager to survive and he is about to say anything to walk out of this trap alive...

Where do you get your ideas or inspiration from?
They just come to me, like a lightning that strikes me in the head.

But I watch a lot of films, all kinds of films from all kinds of eras and countries. If you want to be a filmmaker, you have to love films and have a need to watch them.

How important is sound in film, and if you use sounds, do you create your own or use existing?
Good sound or bad sound can make or destroy a film. If you are making a lo-budget film, you can\’t fail on the sound for it\’s a first thing that turns your audience off - even more than photography. When you see a \"Found Footage\" film, they don\’t have much to look at, but the sound is always involving and you always ear everything.

As an experimental horror piece, ’Survivalismo’ is all about sound. Emanuel Gracio’s work is amazing - his soundtrack and the sounds he created are involving and evolve thought the film.

How does content relate to the form of your work?
It doesn’t. I think I should be the most professional and do my best in spite of being a better or worse content.

What possibilities of the web are yet to be explored?
In terms of film, I think the web is the most democratized place there is. Now more than ever, you can learn about alternative films and different cinematographies. There is loads of information that one could never get back in the 90s. This is amazing.
Unfortunately still, as with everything, this potential isn’t taken by users necessarily the most interesting way. Hollywood films dominate what most websites write and talk about. Silly youtube videos have billions of views versus the small crowd that actually sees full contents on other places.
Yet, this is all about the users. The internet is an amazing place, but I feel most users don’t actually take much advantage of it. That’s what we call democracy.

Did the web changed your view on art, or your career?
Yes.
My first short, ’A Noiva’, was seen by over thousands of people online and I was screened publicly over 50 times thanks to all the festival and clubs I find online. I’ve met people who didn’t know me but knew my film, and that\’s always rewarding.

Where would you place your work; cinema or art. And what is the difference between those according to you?
Cinema is art. If there\’s bad cinema and bad art I’m not the one to judge.

How influential is the reaction to your film by the audience?
It\’s all about the audience.
My previous short film, ’O Risco’, has amazing reactions from live audiences for it’s a splatter comedy, with a tight pace. People laugh their heads off and always clap at the end. This makes me very happy, to see people enjoy a work I was involved in like this.
I only saw ’Survivalismo’ with an audience once, and since this is actually a very negative downbeat film, I was not surprise of the absolute silence that it was received from start to finish from an audience that had been very participative. I look forward to see it again live, to see how it works.

What is your next project about?
I’m currently producing a 90s set romantic comedy by Ana Almeida about the end of the VHS-era and the arrival of DVDs. It will be a analogical film-buff comedy - and the script is to lovely to be true.

QUADRAMANIA (UK)
Festival Abertoir


Entrevista a José Pedro Lopes para o site See Horror a propósito da participação de "Survivalismo" no Jennifer's Bodies Film Festival (Dezembro 2011)

When was the first time you watched a horror film, and how did it affect you?
It’s hard to say, but having an older brother meant I began watching horror movies sooner than most people. I actually remember tricking my grandmother into taking me to see Gremlins 2 at the cinema when I was eight or nine years old.

What was it that first attracted you to horror?
I’ve always enjoyed horror movies. When I was a teenager, I enjoyed the adrenaline.
But the more horror you see, from different countries and directors, the more you realise that there’s much more than meets the eye. I would say horror movies, and fantasy movies in a broader sense, have become political, relevant and are often the most audacious form of filmmaking. It’s no longer just about the scares.

What achievement are you most proud of?
I think managing to bring a group of talented people together and make a film is always something to be proud of. It’s easy to give up considering that there is very little money in European independent filmmaking, and even less in the Portuguese movie scene. But, watching your movie with an audience is an incredibly rewarding experience. I saw my last short, O Risco (The Line) – a splatter comedy – at the Bicycle Film Festival where it was a surprise film. It was hilarious people were laughed as I’d never seen before. That was something to be proud of.

What are you working on now?
Anexo 82 (my production company) are working on three short films right now that I’m set to produce (I’m not the director of any of them). One is a long time project based on a script by my long time collaborator Ana Almeida. It is a dreamy nineties drama about the end of the VHS era called Videostore. Then there’s Pacient EV-136, it’s a merciless horror film. I guess I always go back to horror – it’s in me.

Who do you admire in the horror world?
The person I admire the most in the horror world is John Carpenter. Halloween is my dream movie – it inspired a lot my first film A Noiva (The Bride) in 2007. His latest film The Ward was great. Carpenter has a real sense of rhythm, fun and scares.
There are many horror authors that I admire, especially nowadays as the genre has become so rich. Lucky McKee has done two excellent horror films (May and The Woman), I’m really into Rob Zombie’s instant cult films (his Devil’s Rejects duo and take on Halloween), Takeshi Miike (Audition and Ichi The Killer) and James Wan (Insidious was a real thrill ride).

Do you prefer gore or psychological horror?
Gore alone with no reason is not very interesting, unless it’s fun like Peter Jackson’s Braindead. Psychological horror can be good, but can also be over-derivative. I guess I prefer a good film than one that’s specifically gory or psychologically chilling.

How important is it to unsettle a viewer?
It’s very important to get a reaction from the viewer. Too often films allow people to watch them passively from start to finish. You have to unsettle the viewer, whether through fear or another emotional reaction. Occasionally I like watching deeply unsettling films such as Secuestrados (Kidnapped) by Miguel Angels Vivas – it will leave you afraid of being in your own house.

How do you evoke fear?
One thing I like in horror films, especially classic horror, is iconography. I think it’s important to have a strong world and a strong set of codes to create a scary story: rules, method and consequences.

What scares you?
I find films like The Road and Children of Men to be way scarier than traditional horror films. I enjoy horror films, and love fantasy, but it’s simple disgusting human behaviour that scares me.
Why should people watch your films?
To enjoy themselves. Hopefully.

How far is too far when it comes to horror cinema?
I’m not one for rules. I guess too far is when there is little point going further – the point has been made! Films such as The Isle by Kim Ki Duk are very hard to watch, yet the violence serves a purpose
Torture horror is of no interest to me. Not because it goes too far, but because it’s lazy filmmaking and lazier storytelling.

How do you think horror cinema will evolve in the next ten years?
Horror films are becoming much more human and socially aware. Take, for example, The Woman, Eden Lake and The Loved Ones. Or for a more amusing take, consider Attack the Block. There are also some incredibly imaginative horror films, such as Rare Exports: A Christmas Tale. The genre is constantly evolving.
I would like to see horror films explore urban apartments and buildings more. Both The Ring and The Grudge tap into this to some extent.

Recommend a film.
Balada Triste de Trompeta (The Last Circus) by Alex de La Inglesa is one of the most emotional films I have ever seen, it won the Melies D’Or in 2011. It’s a true masterpiece.
I would also recommend Monsters by Gareth Edwards, it’s one of my favourite films this year.


Entrevista a José Pedro Lopes para o site Mangled Matters a propósito da participação de "Survivalismo" no Jennifer's Bodies Film Festival (Janeiro 2012)

Saturday, January 21, 2012
An Interview With Director José Pedro Lopes
by Justin Hamelin

José Pedro Lopes is a journalist, writer, cartoonist and filmmaker. He's also a John Carpenter fanatic like myself. Double points.
Hailing from Portugal, Mr. Lopes wrote the short film 'A Noiva', a slasher flick, in 2007. The short was shown in over 35 film festivals across the globe and received two awards.
José cut his teeth as a director on 'O Risco', a splatter comedy that hit the film festival circuit in 2011. Critically acclaimed (4 nominations at Killer Film Festival here in the states, 2nd place at the International Cycling Film Festival in Germany), the film was shown at 15 festivals.
His latest short, 'Survivalismo', is downright awesome. Having had the pleasure of viewing and reviewing the film, I can honestly say it is one of my favorite shorts I've ever seen. It's a thinking game a la 'Saw', without all the gore. Psychological terror at it's most basic. At it's best.
With a true passion for the art of filmmaking, José founded his production company, Anexo 82, and is a real up and comer in the indie horror community.
I had the pleasure of chatting with Mr. Lopes recently and was able to pick his brain a bit on a number of subjects.

1. How did you think up the storyline for 'Survivalismo'?
I was attending a European co-production forum in Strasbourg (France) with my producer Ana Almeida. She was there to present her new short film project, so I saw all the presentations and the rehearsals by everyone there.
Inevitably, I started to think of a "pitch" of my own. How could I present a short film that would impress on a stage, speaking. And that's where this cenographic idea of a man stuck in a trap who must talk his way out came. That and the "twist ending" I idea, which I had from the start and help me to create all the story.
The Five Stage of Grief, even though have become a big part of the film, where not in the genesis of 'Survivalismo' - it was a way of creating a more dense, realistic emotional reaction to the situation.

2. Was this your first venture into psychological horror as a director?
I've always made films, ever since I was a teenager, with friends. Even then, I was very much into fantasy, sci-fi and horror.
But only in 2007 was that I started making more professional short films. I wrote and produced Ana Almeida's "A Noiva" which is a european take on the slasher genre - it picks up a lot of its imaginary to the Giallo cinema and mixes it with an asian
Last year I directed two short films that played strongly in the fantasy film circuit. One was 'Survivalismo', the other was 'O Risco' (The Line) - a 2 minute splatter comedy that plays homage to John Carpenter.
I don't see myself as much of a horror filmmaker for neither 'Survivalismo' or 'O Risco' are horror films - they're inside that vague concept of fantastic films, but they're not actually scary.

3. What attracted you to film making?
I began watching films at a very young age for my brother was a film buff. So I was watching horror movies growing up. Early on, I was watching denser, complex films. I always wanted to be a filmmaker but I was never too sure I was able of making a film. That took me actually a long time.
Every time I meet someone knew who loves films and film making (not necessarily the same thing) I feel more inspired and driven to make new films.

4. Admittedly, 'Survivalismo' hasn't fared as well in 'regular' festivals as opposed to film fests dedicated to fantasy or suspense. This surprises me. Why do you think that is?
I'm never too comfortable judging festival selections for I'm a festival programmer too and I'm always conscious that my films are not perfect and are not for all tastes.
I was expecting that 'Survivalismo' would perform better in non-fantasy festivals than it did - but at some point, submitting films becomes expensive and I end up betting on the fantasy festivals. I know them better, and I like the fan-base they bring.
When I look at festivals I can think that if 'Survivalismo' plays on a standard festival, it will reach one or two people who will like it a lot. But if it plays in horror festivals it will reach people like you who are into this kind of films.
But I would like to make a film with a broader appeal. 'Survivalismo' tried not to be a fantasy-oriented film and more a art-driven experimental film. It ended up kind of in between, I guess.
5. This being a 'thinking man's 'Saw' ', where the terror and suspense is all psychological, are you more a fan of in-your-face violence or what's-behind-the-closed-door terror?
I usually like most films I see and I get very involved while watching them. If something is suspenseful and terrifying, I'll be really hit by it. For this, I dislike unjustified, tasteless violence. I'm more into horror films that don't need violence - and the so-called 'torture porn' genre isn't for my taste at all. 'Saw' is actually a very clever, well written film. But 'Survivalismo' was kind of a art-house, experimental, non-violent approach to the 'torture porn' subject - consciously.

6. What are a few of your favorite horror films?
'Halloween' by John Carpenter is my favourite - for all of its suspense. I love 'A Nightmare on Elm Street', 'The Innocents', 'Ringu', ''Audition'... too many films. Recently, I really enjoyed 'Insidious' by James Wan and even more recently I was very surprised with 'The Innkeepers'.

7. Who are some directors you admire?
I'm a die-hard fan of John Carpenter in all of his eras. But I love lots of directors in all genres.

8. Can you update us on how many film festivals 'Survivalismo' has been in?
It has been in 16 film festivals. It's upcoming screenings with be at Jennifer's Bodies Film Festival (part of the Women in Horror Celebration Month in Scotland), Yubari Fanta International Film Festival (Japan) and Landshut International Short Film Festival (Germany) on the Deadline award competition. I'm planning of distribute it in festivals along 2012.

9. What is the horror film landscape like in Portugal?
Up until 2005, there were very few features and shorts on the horror genre. In recent year, the horror genre woke up - but mostly in short films. One of our main festivals is Motelx: Lisbon's Horror Film Festival and dozen of films are made thinking to its short film competition. I fear, though, that this "boom" can go away as suddenly as it came.

10. What projects are you currently working on?
Since making shorts is not a business, at least not for me (I accept advices on this issue haha) ,sometimes I don't have the time I want to make more films.
I'm producing "Videoclub" by Ana Almeida, the short film that was presented in Strasbourg. It's a drama set in the 90s and its a project that's very dream to me. I'm also producing a mystery short film called 'Auguste' and an horror thriller called 'Pacient EV-136'.
I've some ideas for short films but only after these projects. And I would prefer to do a feature rather than a short - I guess that's the main goal of film making.
I sincerely thank José for all of his time and enthusiasm. I look forward to more great things from Mr. Lopes and Portugal for a very long time!

Entrevistas - 'A Noiva'

Índice:
1. Entrevista a Ana Almeida (A Noiva) para o festival escocês Jennifer's Bodies
Fevereiro 2011 (em inglês)
2. Entrevista para o canal LxJovem a propósito da exibição no Motelx. Setembro 2007 (video).

Entrevista a Ana Almeida para o blogue oficial do festival "Jennifer's Bodies" da Escócia (parte do evento mundial Women in Horror Celebration Month) a propósito da exibição de 'A Noiva'. O nosso filme passou no festival a 12 de Fevereiro de 2011, em estreia na Escócia.

Entrevista por Jennifer Cooper.

An Interview with Ana Isabel Almeida - Director of Short Feature - THE BRIDE

One of the short films that I am pleased to be showing at Jennifer's Bodies is Portuguese short A Noiva, or The Bride. Directed by Ana Isabel Almeida, this is an eeerie spooktacular wee short and I have to say that I'm super geeked at what brought Ana and writer José Pedro Lopes together as friends. Keep on reading to find out what... ;)




Can you remember the moment that you first decided you wanted to make movies and was it even horror related?
I can't really pin-point a moment in time, but maybe it was when I about 8 years old, and ran home from school to transform my sofa into a mining cart, while I watched "Indiana Jones and the Temple of Doom" on the VCR.
Not really horror, but still very scary for an 8 year old!


A Noiva was written by José Pedro Lopes, how did you to meet and what gave him the idea for your short A Noiva (The Bride)?
I met José in high school, and we immediately started talking about movies, directors, the X-files... Actually, he was the first film geek I'd ever met (besides me, obviously!), so that was pretty exciting.
We've been working together ever since. We started with no-budget shorts, and "The Bride" was the first short we made with some budget.
For the Bride, the idea was to create an ominous evil presence, based a bit on typical horror slashers like "Halloween" or "Friday the 13th", but have the killer be more unearthly.
Also we wanted to prove to ourselves we could make a real horror film.


A Noiva left me wanting for more. I felt that there was so much more story to be told and that The Bride was just getting started. If given the opportunity, would you like to turn this into a feature film?
José developed the script for a feature, but then we decided to first shoot the pre-credit slaughter, and then use it as a "sample", so we could look for production funding. That's actually what "The Bride" is. A "pre-credit slaughter".
We've been post-ponning the development of the feature since 2007, because we both have very demanding "real full-time jobs".
But this year, José wrote a new short story about the same myth, which we're very excited about! We'll see how things develop ;)


I love how on IMDb it says that ‘if you liked this title then our database recommends’, and it has Carnival of Souls and James Wan’s stupidly underrated follow up to Saw, Dead Silence. What are your thoughts on this?

I think it's an automatic process, that works with taglines or something, no? eheh
Still, I get pretty excited to see the films that pop up there. I haven't seen "Carnival of Souls" but I think "Dead Silence" was great. A very moody, dark, eery film. I quite enjoyed it.

My friend Adam Barnick is making a documentary called ‘What is Scary?’ What truly scares you?

Honestly? Zombies! The whole concept of people hurting other people hurting other people hurting other people terrifies me! It's a bit of a metaphor on the real world (I don't only mean in health issues, but also political and social). It gives the chills!

What is your take on the constant flow of American remakes of foreign cinema? For example, Martyrs…it actually makes me feel sick that an attempt to remake that film is even in the works! Are there any that you have actually enjoyed and felt worked? And then the flip side, are there any that you have just downright loathed? And you can be honest, haha.

I can give you one example, that will answer both your questions: "Let Me In". I really enjoyed the original swedish "Let The Right One In". The film was perfect, flawless, original and very very scary.
The remake was also perfect, very well put together, the actors were amazing, and the directing had some very original moments, which I really enjoyed.
But, in the end, it was like watching the same film twice. For me, there was no artistic point in remaking "Let The Right One In", the problem with the film, was it's language: swedish! It makes no sense to me.
It was a big shame, because the team that worked on the remake was really good, but was limited, for the most part, to copying the original, which everyone already loved. It all seemed a big waste.

"REC" and "Quarantine" are also good examples. In this case the only change was really the language, even the production team was the same. Same movie. Really liked Jennifer Carpenter, though!

What filmmakers inspire you the most and is it wrong to think that David Lynch might be one of them? :D

I'm like a sponge, everything I see and everything read inspires me a little!
David Lynch is one of my inspirations (there's a shot on "The Bride" that's an homage to "Twin Peaks").
I also love the modern David Cronenberg, Alfonso Cuarón...I think Darren Aronofsky and Sofia Coppola are absolutely brilliant. The Coen Brothers, oh my god! I'm also very keen on Jason Reitman...
I particularly like directors that let their characters breathe and give them space to actually "live".

In an ideal dream world, who would you LOVE to work with in the future!?!?!
Edgar Wright! I have so much to learn!
What are your favourite films of all time?

This is one of the most difficult questions for me to answer. I can tell what films make me feel better when I'm sick, and that I've watched over and over again. Like for instance Edward Scissorhands, Star Wars (IV and V), Monsters Inc., Before Sunrise, Birds, Children of Men and many more I can remember right now.
Really, impossible question to answer! I'm so sorry.

And last but by far least, who are your favourite Women in Horror?
I don't know many, unfortunately, but I'd have to say Floria Sigismondi, for some of her work in photography, Mary Shelley, for being a great pioneer, and (although she isn't really a woman in horror, but for the looks of she would be great) Karen-O (from the Yeah Yeah Yeahs).


Entrevista a Ana Almeida e José Pedro Lopes (A Noiva) para o canal LxJovem a propósito do Festival Motelx
Setembro 2007

Críticas Survivalismo

Al JenningsCult of Alfie (UK) - top 3 films of Jennifer's Bodies Film Festival
A short film about a man who wakes up with a bag on his head and rope round his neck, completely disorientated and unaware of his surroundings. A nice nod too the Saw universe, the emphasis on the clock ticking in the background was enough to torture the audience as well as the character on screen. Well Produced!


Caitlyn Downs
Scared Sheepless (UK)

‘Survivalismo’ is a short film by Jose Pedro Lopes of Anexo 82 Productions (follow him on Twitter @zecopeco) shown at the Abertoir Horror Festival this year. Short films are a relatively new medium for me to review so bear with me.

The film confronts the viewer with a man in a hellish situation – he is perched on a chair, a bag around his head and a noose around his neck. He is alone in what appears to be an abandoned warehouse and throughout the course of the film must come to terms with why he is there and perhaps more importantly, does he deserve it?

The concept of the film largely concerns the man coming to terms with his situation and much of the inspiration of this is taken from the Kubler-Ross school of thought of stages of grief. The stages include denial, anger, bargaining, depression and finally acceptance and all certainly play out in the film. What is really remarkable about this is that even with the short 9 minute timescale none of these stages feel rushed and all add to the intensity. The performance of the lead enhances this further and even without seeing his face you do feel a connection to him.

What begins as an individual facing his own inevitable death becomes a larger metaphor for all loss and grief. There are many times in life where we ask ‘Why me?’ and this film deals with those feelings of judgement that arise when those things happen. I won’t reveal all about this film as it is a much more interesting and shocking experience.

I am very excited about the next project from Anexo 82 Productions and you should definitely look them up and see ‘Survivalismo’ however you can. Thank you to Jose Pedro Lopes for the opportunity to review this wonderful bite-size piece of intensity.


Hayley Alice Roberts e Elliot Mcintosh
Quadramania (UK)





I was fortunate enough to have a message in my Facebook inbox one day from the exceptionally talented Mr. Lopes, asking if I'd be interested in watching and reviewing his short, 'Survivalismo'.
I had recently found out the film was selected into the 2012 Jennifer's Bodies Film Festival, which is run by one of my favorite ladies in the history of the world, Jennifer Cooper, out in Scotland. So if Ms. Cooper was enamored with it enough to add it to her film festival, I knew it was going to be something that was going to knock my socks off.
Holy shit, what an understatement.
'Survivalismo' is eight minutes and ten seconds of some of the most raw, nerve-racking emotional twists and turns I've ever experienced in a film.
Director Lopes does an unbelievable job immediately gluing your eyes to the screen and once the final credits start rolling, there's a good chance you'll realize you didn't blink at all in those 490 seconds that you just watched.
The lead character, an unnamed man whose face we never seen, awakes in a dingy basement with a burlap sack over his head and a noose around his neck. He is teetering on a chair and before long, he is also teetering on the edge of sanity- spinning through the 'five stages of grief', as defined by the Kübler-Ross Model at a break neck pace.
We find out more about this fellow in eight minutes than his best friend, girlfriend and anyone else close to him know in the lifetime they've spent together.
Does the man survive or does he succumb to his grief over the truth as he crashes through the Five Stages?
Reminiscent of the original 'Saw' in several regards, but even MORE psychologically effective, 'Survivalismo' left my jaw hanging and my blood cold when the final scene cut.
Hollywood, you've been warned- it's minds like Mr. Lopes that are keeping independent films rolling on all cylinders. Tinseltown big wigs, you could learn a thing or two (or five) from peeps like José.
10/10

JF Hunt - Creepercast
According to Jose, Survivalismo “is an experimental horror movie, based on the 5 Stages of Grief of the Kubbler-Ross Model. Designed to be the total opposite of the torture horror movies.” Knowing that, this one requires repeated viewing! At least for me, the first time I saw it the film seemed to test my patience. But when it got to the end of its eight and half minute run the payoff was so intense I needed to watch it again to truly appreciate what had brought it to that point. The lack of background music and attention to small natural sounds actually puts us into the head of the guy we are watching. We also picture his surroundings much as he does and all of those little details make it that much more creepy. As he goes through his five stages we learn more about him, and that in the end he is quiet possibly the worst friend anyone could have. Then the twist comes, which actually made my eyes pop wide open while I declared “Holy Shit!” I have no intention of ruining this one for you all so please, do what ever it takes to see it. It also comes as a horror festival surprise having been featured in some major fantastic festivals such as Yubari Fanta Film Festival, (Japan), and The Abertoir Horror Film Festival Melies D’Argent Competition (UK). I may also be able to blame it for inspiring me to write my own Kubbler-Ross related short film that will gladly share the script with anyone who wants to read. Just comment below! But this isn’t about me, it’s about Jose…

PAULO PERALTA, http://cineuphoria09.blogspot.pt/

Survivalismo de José Pedro Lopes é uma interessante curta-metragem portuguesa que nos transporta para um armazém abandonado onde encontramos um homem amarrado e com uma corda ao pescoço. Desconhecendo os motivos que o levaram até àquele exacto momento, este homem que inicialmente se revolta pela sua deficiente condição, cedo a recusa apenas para nos revelar mais tarde os seus próprios porquês que a todos nos irão surpreender.
Os instantes iniciais desta curta-metragem são por um lado interessantes porque nos colocam numa situação de surpresa visto que desconhecemos o que terá levado aquele homem até ali, como também de expectativa pois aguardamos algo que nos indicie os momentos seguintes.
Se inicialmente o argumento de José Pedro Lopes consegue cativar e fazer-nos criar uma certa "empatia pela vítima" devido ao seu desespero que nos revela que quanto mais se revolta mais a corda aperta, não deixa também de ser verdade que se revela um pouco tremido quando a "vítima" finalmente se revela, numa aparente (apenas) tentativa de dar um significado àquilo que ali se passa.
É, no entanto, quando percebemos o verdadeiro espaço em que nos encontramos que todas essas explicações fazem finalmente sentido e transformam o final desta curta-metragem num interessante twist que consegue dar-lhe a credibilidade que esperamos e criar a intensidade que esperamos de um trabalho de suspense que a todos acabará por satisfazer.