Breves Miragens do Sol

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Note of intent

Breves Miragens do Sol is a fiction-project that will be entirely shot in Rio de Janeiro. It is a testament to a processof change that the city is currently suffering and of which we can’tknow for certain where the process will lead us.The film will have a profile that will certainly create good chances of realizing a circulation at the world’s large film festivals, for it offers a provocative and original language and caries great market potential in its ability to communicate to a large audienceThe film will be Produced by ARUAC Filmes, the director’s own production company, with 15 years of experience in full feature film production and winner of various awards. Associate producer of the project, Video filmes, owned by director and producer Walter Salles will fortify and expand the possibilities of the project in the international market and its revenue. The film searches for a constant dialogue with reality and for this reason will consist of a small and agile crew. In this perspective, the producers choose to finance and work in line with the realization of a low budget film.

Synopsis

Breves Miragens do Sol tells the story of Paulo (42), Unemployed, recently divorced and in debt with his ex-wife Livia, who forbids him to see his son Mateus(07). As a quick possibility of survival, Paulo has just started driving a night-cab in Rio de Janeiro. The new job makes him feel like a stranger in a convulsing city. His moment of personal uncertainty intertwines with a city under renovation and permanent reinvention of itself. As he learns the choreography of his new profession, this apparently provisory solution solidifies as his present reality. Slowly he starts opening up to the encounters, conversations and relationships provided by the cab. The fragments of stories and advices exchanged with the passengers become the narrative of his own life, weaving a broader tale about living in Rio today.

Visual concept

Breves Miragens do Sol is both a character drama and a portrait of a city in a specific moment in time, which still lacks representation in film. The personal narrative intermingles with the city night, revealing a less familiar image of Rio de Janeiro. These spheres come together and end up colliding in his cab. Outside, Windows and mirrors create a mosaic of multiple interactions, while the infernal polyphony of the city contrasts with the muffled sound of the car air conditioner. The movie is the result of these encounters.