A film within a film: Two Times João Liberada [+leggi anche:
trailer
scheda film] tells the story of the fictional character João Liberada, a gender non-conforming person persecuted by the Inquisition in the trials of the 18th century, and João (June João), the actress that will play her role as the lead in a film. This is the narrative basis for Paula Tomás Marques’s debut feature, which just premiered in the Perspectives section at the 75th Berlinale, and which follows the (fictional) film production of this character’s biopic, as it becomes increasingly more complicated - or haunted.

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Divided in four chapters, the unofficial prelude is the revealing of the film director’s (André Tecedeiro) ultimate destiny, which is to be mysteriously paralysed. Following João’s voice, the narrative will go through what precedes that moment, but not exactly seeking to solve the paralysing mystery (or at least not too extensively). The ultimate quest, instead, will be a reflection on the processes of that (and all) film(s): asking questions - most of them still unsolved - regarding rightful cinematic and historical representation and modes of production.

João first gets involved in the project as she needs a new acting job but also because, on paper, it has everything to be a good project: a film with a historical LGBTQIA+ figure as its protagonist, a crew composed of mainly queer people, women in leadership roles, and the checklist goes on. Yet soon it is clear that even in this setting, the script’s angle regarding João Liberada’s story was still just following the accounts of those who persecuted Liberada. João then tries to think of different ways to portray the missing part of this story, but her voice becomes increasingly more dissonant from the film director’s, creating an ever-growing gap between what she feels is fair towards the character and the actual role she’s playing. As she distances herself further from the role, she gets closer to Liberada, a character that had no place to speak in history. Subtle but poignant supernatural touches spark up with the development of the project, as Liberada’s presence and influence becomes stronger – literally. Her spirit finds a way to connect with João – especially during her sleep – but also with the rest of the film crew, even eventually managing to electrically (and sonically) interfere, disrupt and change the course of the film. A new destiny made possible by the team, as a collective that joins forces to forge a new path for the final images.

As we seamlessly roam through this film’s – or this film of the film’s – developments, with its intricately developed script (by the director and the lead actress) coupled with outstanding editing (by Jorge Jácome), we reach a final result that is a work with distinct gazes (conceptually, formally, visually and sonically) at play, achieving effective criticism and self-criticism, analysis and self-analysis, of the power of images, the impact of representation, and the importance of listening.

This is also a film on film (16 mm) that shows a deep understanding and appreciation for the possibilities of its physicality, becoming also an urgent archive, for the future, of the unheard voices of the past and the present. Finally, this is a film about cinema itself, and the presence of the crew as part of the cast (and vice-versa) creates a sense of familiarity that is rarely seen with this level of honesty (in fiction), and which creates a warm and inviting feeling. Yet this warmth that doesn’t mean easiness: it invites a collective reflection, as the work of figuring out what cinema can and should be is done every day, with every film, with every person. This film is simply laying the groundwork for a step forward.

Two Times João Liberada was produced by Cristiana Cruz Forte and Paula Tomás Marques, in a co-production with Fúria de Boi and associate production with Casa Estrela and Elías Querejeta Zine Eskola. Distribution and sales are handled by Portugal Film.