It was a great challenge to work with actors who are very experienced in Brazil. Their TV experiences are very strong. But it was also a challenge to create a different context for them, where the scenes went on for eight minutes or more without a cut. There was something very magical about trying to turn those scenes into moments of life that were unrepeatable. We didn't have the option to use the tools of editing and photography to manipulate feelings.
The film works with two kinds of aesthetic approaches. One is almost realistic and the other is lyrical and very dreamy. These two connections create something like a displacement of time and space. Lots of things are connected to dreaming — even some moments that are completely close to the documentary, fly-on-the-wall style. It's a film that really blends our experiences into something that is sometimes uncomfortable because it can be the excess of normalization, the excess of naturalism. The film uses that excess as a way of questioning differences. It establishes characters that have an atypical life in a cowboy world. But they don't judge themselves or each other.
Boin Neon @ Indiewire
Mis sentimientos hacia esta película, en la que trabajé como editor en set, todavía son un tanto desdeñosos. Sin embargo, esos comentarios del director que aparecieron en un artículo de la IndieWire me parecen muy interesantes y me recuerdan el espíritu de la edición que llevábamos, del que aprendí un montón.