Best Student Film
The Time And Will To Stay
Pedro Maia is an insecure young adult who finds himself in a conflicting moment into his life when Regina, his brave and determined friend, is about to move to the big city to work.
Henrique Linhales Rangel
Director
Henrique Linhales Rangel is a Brazillian director, screenwriter and editor, graduated in Cinema studies in Universidade da Beira Interior, Portugal.
His filmography includes short films such as The Time and Will to Stay, A Ballad of Love, Greed and Vengeance and Abandoned Century: The Park Buildings with passages in over twenty festivals.
His filmography includes short films such as The Time and Will to Stay, A Ballad of Love, Greed and Vengeance and Abandoned Century: The Park Buildings with passages in over twenty festivals.
He is a quiet and shy guy. She's an unassertive and open-minded girl. He waits. She's late. A classic melodramatic model, it would seem. Student movies are full of “two-person” plots, romantic night outings, and innuendos filling the streets. The first minutes of The Time And Will To Stay promises this youth as a construct and narrative, but each subsequent frame of the movie presents us with a picture of growing up - maturing into pure cinema.
Director Henrique Linhales Rangel confronts not so much a difference of characters as a difference of types of existence. The hero and heroine of The Time And Will To Stay are separated not because of a mismatch of feelings, but because of a mismatch of times of being.
The arrangement of space is laconic, simple, but extremely precise. It corresponds to the director's task and, more importantly, to the task of the movie as such. From the first frame the author introduces color as a way of combining two particles, as a bearing object marking the dramaturgy in space and the composition of frames. The color attributed to the characters as if cancels their initial personification and localization somewhere in “reality”, the actors continue this (conscious or unconscious) idea of working distance, complicating and saturating the film with extra-fabular meanings. Perhaps the main charm of “The Time And Will To Stay” is its openness, which was only possible thanks to the extreme precision in the handling of the image, including the storyboarding of space and foreshortening.
“The Time And Will To Stay” is a story about Yin and Yang as a harmony of form articulated from two opposites. They run or slow down, adopt each other's mode of behavior, argue, dissonate, part or converge in a unity of gaze. It's all one. Henrique Linhales Rangel's characters will repeat their little plot in a small town - there is nothing but this “two-person” plot.
A street corridor, the emptiness of a park or the edge of the world: two times will waltz with each other as long as Henrique Linhales Rangel's camera captures the city.
Director Henrique Linhales Rangel confronts not so much a difference of characters as a difference of types of existence. The hero and heroine of The Time And Will To Stay are separated not because of a mismatch of feelings, but because of a mismatch of times of being.
The arrangement of space is laconic, simple, but extremely precise. It corresponds to the director's task and, more importantly, to the task of the movie as such. From the first frame the author introduces color as a way of combining two particles, as a bearing object marking the dramaturgy in space and the composition of frames. The color attributed to the characters as if cancels their initial personification and localization somewhere in “reality”, the actors continue this (conscious or unconscious) idea of working distance, complicating and saturating the film with extra-fabular meanings. Perhaps the main charm of “The Time And Will To Stay” is its openness, which was only possible thanks to the extreme precision in the handling of the image, including the storyboarding of space and foreshortening.
“The Time And Will To Stay” is a story about Yin and Yang as a harmony of form articulated from two opposites. They run or slow down, adopt each other's mode of behavior, argue, dissonate, part or converge in a unity of gaze. It's all one. Henrique Linhales Rangel's characters will repeat their little plot in a small town - there is nothing but this “two-person” plot.
A street corridor, the emptiness of a park or the edge of the world: two times will waltz with each other as long as Henrique Linhales Rangel's camera captures the city.