Mãos no fogo

Inspired by Turn of the Screw by Henry James, Mãos no Fogo is a dark chamber piece by Margarida Gil that follows Maria do Mar, a young filmmaker, documenting an old manor house in Portugal for her thesis project on "The Real in Cinema." The film is beautifully shot with a cinematography that captures a picturesque quality in its search for the remainders of the beauty of a time past. It offers many frames resembling paintings, e.g., shots of Carolina Campanela laying naked on the bed bear a closeness to Edgar Degas' art.

Right from the beginning we enter into a place reminiscent of a fairy tale with beautiful views where nature is felt like the border delineating the magic sensation of this mansion. Something not too distant to the settings of Call Me by Your Name (2017) and how that villa gave the story a beautiful scenario for it to take place. Once there, Maria starts filming everything she can, the cook, the kids, the governess, the furniture, the neighbor singing girl, etc. The ennui of the summer is a strong presence bathing the atmosphere and slowing the passing of time, offering a mirror-like experience to that of the old manor taking place, diluted remnants of what already has been. It isn't long enough till Maria starts sensing there's more than meets the eye in the house. Secrets rendering interpersonal dynamics difficult to read but presenting an opportunity to disclose and being closer to her purpose of finding the truth, the essence behind what history changed.

There is a clear impossibility taking place if one considers that the camera only captures fleeting moments devoid of any essence, if by it we refer to the impermeability of something. Like Maria's diary notes, truth and reality, are not static but in constant movement. A flow erasing what time committed to memory. The secrets harboring in the manor are also committed to memory, if only by their unwillingness to find articulation in certainty, as if reproducing them in the form of words would enliven them. Whether the gap between the real and fantasy is blurred or identifiable, the hints offering an attempt at some clarity never materialize in terms of certainty and find comfort in gazes filled with erotic tension. If pleasure and sacrifice are not only interchangeable terms but also the key that opens the door to what lies unearthed, then this intellectual cinematic experience is one that will stay with you after seeing it.

I was quite curious about Mãos No Fogo by Margarida Gil because of my interest in Portugal. Sadly, it was overall a disappointing experience, while offering beautiful cinematography.

The film moves very slowly without justifiable reasons, the acting is not convincing most of the time and the story disjointed. Some editing would have been good. I believe that sometimes too much artistic freedom results in not enough editing down of the material, as this slow pace and many unnecessary scenes happen quite often in art house cinema, as seen in film festivals like the Berlinale. And, unfortunately, often in Portuguese cinema too. In particular there were singing scenes in Mãos No Fogo, that I would have taken out and towards the end I was just hoping for the film to finish.

The film definitely felt like made by an older person, it is somehow very old-fashioned and lacks direction of the actors. The main actress just alternates the same expressions, with open mouth and her big glaring eyes.

This being said, the craft of filmmaking is clearly visible in other parts. The images are very, very beautiful, the cinematography is astonishing and Portugal just offers a special, magical charm. The inside of the old manor and its strange characters offered a lot of potential. The soundscapes also immerse you in the scenery of the old house and surrounding nature. Strong parts also included the more anthropological views about rural Portugal or social commentaries, like the scene that included a shopkeeper commenting on the infrastructure of the village.

Based on the log line, the film sounded very intriguing, and there was so much potential lying in the setting of the old Portuguese mansion. I believe, a fresher, maybe even younger approach would have been good.