Kinorama: Beyond the Walls of the Real (2019)

ALL 01/28/2019 (pt) 80 Min
  • Release
    01/28/2019
  • Production
    Bando à Parte, ICA
  • Rotten tomato
    0%
  • Original title
    Kinorama - Cinema Fora de Órbita
  • Original language
    pt
  • Production Cost
  • 0.00
    -

Overview

In 2016, Edgar Pêra released The Amazing Spectator, a playful investigation into cinema’s disquieting essence that had everything from negative film images of boobs and positively splendid interviews to a donkey hand puppet. The film and an accompanying book formed his PhD thesis. But as so often with him, projects turn into obsessions – especially when there are masses of notions not pondered, thoughts not elaborated upon. And so KINORAMA - Beyond the Walls of Cinema was born, a stand-alone continuation of The Amazing Spectator that looks at cinema’s future in cyberspace and, accordingly, perhaps the end of its enslavement to figurative representation, the 'stupid sacred in narrative cinema' (to use a Pêra’ism), realism and artificiality in 3D cinema, and many other aspects.

  1. Edgar Pêra

    Director

  2. Story

  3. Editor

  4. Rodrigo Areias

    Producer



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Casts

Full Cast & Crew

Casts : 11 , Crews : 5

Keyword

Kinorama: Beyond the Walls of the Real (2019) 80 Min

ALL 01/28/2019 (pt)
  • Release 01/28/2019
  • Production
    Bando à Parte, ICA
  • Original title Kinorama - Cinema Fora de Órbita
  • pt
  • Revenue0.00

Overview

In 2016, Edgar Pêra released The Amazing Spectator, a playful investigation into cinema’s disquieting essence that had everything from negative film images of boobs and positively splendid interviews to a donkey hand puppet. The film and an accompanying book formed his PhD thesis. But as so often with him, projects turn into obsessions – especially when there are masses of notions not pondered, thoughts not elaborated upon. And so KINORAMA - Beyond the Walls of Cinema was born, a stand-alone continuation of The Amazing Spectator that looks at cinema’s future in cyberspace and, accordingly, perhaps the end of its enslavement to figurative representation, the 'stupid sacred in narrative cinema' (to use a Pêra’ism), realism and artificiality in 3D cinema, and many other aspects.

  1. Edgar Pêra

    Director

  2. Story

  3. Editor

  4. Rodrigo Areias

    Producer