Everyman
Realizador Carlos Nader
Países Brazil
Duração 103 min
Sinopse
Everyman starting point is the most essential of all questions: what is the meaning of life? From there on, the film establishes an unexpected bond between scenes of the final 20 years of a Brazilian truck driver's real life and ficcional scenes of Carl Dreyer's Danish masterpiece, 'The Word' (Ordet), considered one of the 25 best movies of all times., In 1994, I stopped at gas station in the countryside of Brazil. There I met the protagonist of my film, an ordinary truck, driver. It happened by chance. I would had never imagine that I was meant to film the following 20 years of that man’s, life, in crucial moments like his wife death, the birth of his grandchildren, his new marriage and his own death. I also, would had never imagined that this ordinary life would be so closely related to one of the most extraordinary movies in, history, The Word (Ordet) by Carl Dreyer. Later on, it would be even harder to imagine that the producers of the Danish masterpiece, which is, considered one of the 25 best films of all time, would license half an hour of original scenes to the experimental movie of an, unknown Brazilian filmmaker. It turns out that life is far more inventive than my imagination. Reality is unbeatable. So a chance encounter with a truck driver, 20 years, ago, ended up becoming a movie that intertwines Ordet’s scenes and a long period the truck driver’s life. The story, happens through the most varied shades of gray that exists between the white page of fiction and the black ink of facts. Ordinary Man is, made of images and sounds that could be labeled with names as diverse as “documentary”, “mockumentary”, “docudrama”, “direct, cinema”, “reality show”, “family film”, “videoart”, “filmed theater”, “visual essay”, “fiction” and even “fake fiction”. But all the labels would all be partially wrong. The film is not limited tosnaking through the limits of cinematic language. It is a, work that sets itself as a real life experience. My life. The truck driver’s life. Zigzagging through the instances of reality, Everyman made me discover that the fiction/truth and life/death dichotomies are analogous. And more, that the inexorable result of this equation is that fiction=life and truth=death. This discovery changed my life and made me produce a documentary that believes that documentaries do not exist. Truth died. It’s all fiction. As Ordet already predicted, living is believing.
Everyman starting point is the most essential of all questions: what is the meaning of life? From there on, the film establishes an unexpected bond between scenes of the final 20 years of a Brazilian truck driver's real life and ficcional scenes of Carl Dreyer's Danish masterpiece, 'The Word' (Ordet), considered one of the 25 best movies of all times., In 1994, I stopped at gas station in the countryside of Brazil. There I met the protagonist of my film, an ordinary truck, driver. It happened by chance. I would had never imagine that I was meant to film the following 20 years of that man’s, life, in crucial moments like his wife death, the birth of his grandchildren, his new marriage and his own death. I also, would had never imagined that this ordinary life would be so closely related to one of the most extraordinary movies in, history, The Word (Ordet) by Carl Dreyer. Later on, it would be even harder to imagine that the producers of the Danish masterpiece, which is, considered one of the 25 best films of all time, would license half an hour of original scenes to the experimental movie of an, unknown Brazilian filmmaker. It turns out that life is far more inventive than my imagination. Reality is unbeatable. So a chance encounter with a truck driver, 20 years, ago, ended up becoming a movie that intertwines Ordet’s scenes and a long period the truck driver’s life. The story, happens through the most varied shades of gray that exists between the white page of fiction and the black ink of facts. Ordinary Man is, made of images and sounds that could be labeled with names as diverse as “documentary”, “mockumentary”, “docudrama”, “direct, cinema”, “reality show”, “family film”, “videoart”, “filmed theater”, “visual essay”, “fiction” and even “fake fiction”. But all the labels would all be partially wrong. The film is not limited tosnaking through the limits of cinematic language. It is a, work that sets itself as a real life experience. My life. The truck driver’s life. Zigzagging through the instances of reality, Everyman made me discover that the fiction/truth and life/death dichotomies are analogous. And more, that the inexorable result of this equation is that fiction=life and truth=death. This discovery changed my life and made me produce a documentary that believes that documentaries do not exist. Truth died. It’s all fiction. As Ordet already predicted, living is believing.