Joao_Carlos

Pedro is very well know outside the country he lives and films on, not that much in the country he actually lives, the country I also live. I think the reason for that is, one: the films are complicated, and two: his filming a reality people don't know and don't want to see. There's a lot of people that don't really understand what "his" saying, and I can't blame them, because I also don't understand, in some, a large portion of it, Pedro himself says he doesn't either. To watch "his" films I ask for the company of my mother. She explains the films to me, a rare occasion for her, because she's accustomed to being me doing the movie explanations. She's seeing a reality she lived 50 years ago, right after the 1974 revolution, a revolution made only for some.

The music of the centuries, the Antonio Vivaldi Four Seasons RV. 315, a chocolate bombom, the last hidden pleasure of a trapped women.

Smiling not to cry, smiling to adapt, depressive, making them smile to belong, for a cuddle, a sign of acceptation. Ingenuity and unrelation confronted with an unbearable, harsh reality that looks like an institution of deceiving, indifference, insensibility, ingratitude, lack of empathy, it feels better when isolated, no confrontation. Dreaming, fantasizing of you being himself in a crowd, in a relationship, a mirage of what it could be, only if. This is the depict of the only if, accepting it, it's glorification, destroying the institution for acknowledgment, a not allowed fantasy because if you don't understand it, you're in it.