Morning Interim - Episodes 3 and 4 [2017 Portugal, United Kingdom]

Halfway through the successful series of short films for his anthology "Morning Interim", I caught up with film maker João Paulo Simões to talk about the latest episodes and also take stock of the series so far. As ever, he was forthcoming in answering my questions for another exclusive interview.













 

A halfway interview with João Paulo Simões

To what extent has the Polish-French auteur Walerian Borowczyk's 'The Beast' influenced 'Morning Interim' series?
I consider Borowczyk's La Bête a crucial influence that goes beyond the surface or aesthetics. Like Morning Interim, which evolved from unfinished material shot with the purpose of being part of a sequel to the feature film Antlers of Reason (2006), the Sirpa Lane scenes in La Bête (1975) were also originally conceived to be part of Borowczyk's anthology film Immoral Tales (1973). So I guess both projects share that same "salvaging of unused material" approach. I think this can contribute to a very specific formal outcome, which can translate as having elements that pulsate with their very own energy and identity within the overall narrative. But, I must say that La Bête has been a far more direct influence in Antlers of Reason. Aside from the few brief references made in the film, I semi-consciously borrowed specific concepts, such as the materialisation of fantasy into the reality of the central character's life and the primal connection she, as a young woman with a blossoming sexuality, has to Nature - itself embodied in the beast-like figure of the antlered god Thalus.

 

The 'Morning Interim' series is turning out to be a mystery thriller by drawing elements from 'exploitation films' of yore but you'd given it an entirely distinct treatment. Placing it somewhere between an unapologetic Jean Rollin and a Lynchian drama, are you consciously building a new 'genre' for the age with this series?
It is certainly (and hopefully) an exercise in broadening the scope of the web-series format, which itself is a liberated by-product of a digital age. It's fair to say that I am channeling all the mythological subtexts and suggested narrative strands of Antlers of Reason into a considerably experimental approach. The eight-episode format provides it with a definite structure (with its own self-imposed set of restrictions), but frees me creatively to pursue other ideas that can alternate between the abstract, the minimalist and the atmospheric. In many ways, the majority of the web-series that one finds out there still operate within conventional broadcast rules, with minor adjustments to cater to the immediate satisfaction of the digital age. I can't think of anything more 'pornographic' than that. So to make something that would, ironically enough, feature sexually-explicit elements, but would adopt a sense of nostalgia for both the analogue and a foregone era of Cinema seemed to me an irresistible proposition...

 

Here you are, a director making 'European' films whilst living in an England that has a distinct film-making heritage of its own. Was that a choice, and if so, is that because Britain, for all its much-talked about 'Britishness', still remains a veritable melting pot where different ideas find space and thrive?
It's definitely been a permanent "fish out of water" situation, I must say. Whilst Britain has, so far, enabled a variety of cultures to settle within its cultural barriers, its filmmaking traditions have remained rooted in a constant reassertion of their identity. I find the approach of social realism incredibly tedious, to be honest. That said, the reality of a Northern England (and a lot of what it evokes, as filtered through my foreign eyes) has been pivotal in the formulation of a lot of my projects. Antlers of Reason would've never existed without it. And, by default, neither would've Morning Interim.
Still, what many would consider "creating in isolation", I choose to look at as "being left to do your own thing".

 

While Episode 3 (Re-enactments) injects conventional plot elements to an otherwise cryptic first two episodes, Episode 4 (Further Illicit Diagrams) not only introduces a new character named 'Fern', but also hints at a different side to Jay aka Thalus. Is this going to turn into a morality tale of sorts..?
That is a very interesting question. The morality tale aspect reverts, once more, back to the film that originated it all, Antlers of Reason. The episodes of Morning Interim though, shift between what you define as cryptic and a plot device that takes the shape of personal investigations that unearth a dark Past (and the shadows it continues to cast over the existence of certain characters). We are driving towards a specific destination - that is ridden with guilt and loss and certainly tinted with personal moral dilemmas.

 

Now, to the star of Episode 4 - Alexandra Patriarca plays 'Fern' and this episode largely focuses on her intimate encounter with Jay. I'm also surprised to hear that this is Ms. Patriarca's first film.
Alexandra is one of those rare cases of someone who can effortlessly inhabit space and, with her gentle presence, extend a moment outside its time limits. This is rare to find and can't be taught in acting classes. It's intrinsic to who she is, as an individual.

 

The episode features perhaps the most explicit and dare I say 'passionate' sex scene in the series so far, notwithstanding your character's (Jay/Thalus) largely passive and 'robotic' nature - the passion is entirely from Ms. Patriarca. Could you shed some light on how you came to cast her for the role?
Once I identified that very special quality about her, my mission became to preserve it - and never to corrupt it. She's actually one of the most coherent and earnest people I ever met. With great humility she accepted my challenge and 'donated herself' to the project - a beautiful act of faith and trust.

 

What was Ms. Patriarca's reaction to performing explicit sex for camera, and that too on her film debut? Was any of the crew present during the shoot?
There was never an issue. Her personality and aforementioned presence really suits the minimalism that I wanted to bring back (and improve upon) from Episode 2 - Illicit Diagrams become Further Illicit Diagrams, after all. I've developed a way of working that keeps production elements to their bare minimum. Only those essential to the scene in question are allowed in.

 

Something tells me Fern is not just 'any other' victim of Thalus, but without giving away any plot points, could you confirm if this is not the last we'll hear from her in this series?
Very far from it. Although one could argue that she's constricted to a film world of a specific era (the 1970's), the importance of her role will unfold in upcoming episodes. Whilst the Mystery Woman (played by Luisa Torregrosa) is instrumental in bridging crucial gaps in the Present, Fern's identity and ambiguous relationship to Jay will be gradually revealed as the transitional stepping stone of the Past.

 

I've so far enjoyed several aspects of this series from a film-buff's point of view. There are 'atmospheric' touches scattered throughout, like in the start of Episode 3, which surely is a nod to David Lynch/Carlos Reygadas. Some characters and place names even have direct references to films from the past. I also like the concept of film within a film that's already within a film. The insertion of a clip from a supposed 1975 film titled 'Ninho das aguias' (Eagles' Nest) does not only look convincing - it also doesn't clash with the rest of the narrative. Is this your homage of sorts to Seventies and Eighties cinema?
Glad to hear that. Very much appreciated. The goal was precisely that: to bring a sort of analogue-transmutation to proceedings, in the way the footage of that fictional film is treated to evoke a very specific type of 1970's Cinema.
It's not wrong at all to call it an homage. It's a throwback to a way of doing things that simply got lost, as your priorities become surreptitiously defined by others. There was just something very genuine and pure about a lot of those films - regardless of how explicit and supposedly exploitative most were. But, its insertion in the episode poses certain fundamental questions that could be pointing towards a "pretty meta" reveal, when it comes to the character of Jay.

 

What can we look forward to in Episode 5? Any new or legendary faces we can expect to see?
Episode 5 is currently in production. Again, there will be a return to more traditional horror elements and Nature will come to the foreground once more. It's entitled "This Place, That Time" and, in conjunction with the subsequent Episode 6, will give a face to the hidden forces and interests at play. It will center mostly on new characters, but their introduction will help make sense out of a lot that we've seen so far.

 
 

Streaming Link for Film | Become a Patron
Morning Interim, Antlers of Reason and other works by filmmaker João Paulo Simões are all available on The Vault of Alternative Cinema. You can also support the project directly on Patreon.

 

 

The Nudity: Luisa Torregrosa, João Paulo Simões, Monica Calle, Erica Rodrigues, and Alexandra Patriarca
The third episode (Re-Enactments) features an explicit sex scene between Luisa Torregrosa and João Paulo Simões. The fourth episode (Further Illicit Diagrams) features yet another explicit sex scene between mature Monica Calle and João Paulo Simões. Erica Rodrigues also appears nude in a brief scene. However, the highlight of the episode will have to be a gratuitously explicit sex scene between newcomer Alexandra Patriarca and João Paulo Simões - something I also touched upon during the interview. The found projector-with-footage effect used in the scene, whilst not as convincing as shooting it in 8mm directly, is effective enough in conveying the feel given the budget and resources. Recommended Viewing..!

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An interview with João Paulo Simões on "Morning Interim: Illicit Diagrams" [2017 Portugal]

Ever the experimenter, João Paulo Simões loves to play with form and narrative in his films, and his ongoing anthology, "Morning Interim" is one such exercise that has generated interest from not only the art crowd, but also fellow artists in Portugal. His collaboration with veteran Portuguese actress Monica Calle in his second episode "Illicit Diagrams" was intriguing as well as fascinating. When I approached Simões for an interview, he was only too happy to share his thoughts.

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An interview with João Paulo Simões

"Morning Interim" - could you tell us how you came up with the concept?

Morning Interim was originally conceived at around 2007 as part of a trilogy, of which "Antlers of Reason" (2006) was the first. But despite its encouraging reception, the project remained in financing limbo and other commissioned work began to get prioritised. I still wanted to revisit specific strands from "Antlers of Reason", as it began to open up a greater scope for exploring something bigger and deeper, and to delve into a more frightening mystery. As an episodic series, I felt I could now recreate ritualised reflections of equally personal scenarios.



Who is recording the ThalusCam? Will we get to see the people behind it?

The name is in reference to the fictional antlered god of pagan worship, Thalus. It's been conceived, in the series, as a voyeuristic device that punctuates the stripped bare narrative. But it will be revealed as an underground analogue network that hijacks digital signals. A bit like the old days taking revenge on the impersonal nature of this world we all now inhabit. Yes, we will get to see who and what is behind it. Sort of half-the-way through the series: Episode 5, to be more specific.



You'd managed to rope in Monica Calle - still amazing after all these years in cinema, for the second episode of "Morning Interim". Do you hope to feature similar high-profile actors in the remaining series?

There are a handful of roles to be cast still and I always want, first and foremost, to give the right role to the right person.
Yet, as a film buff, I do like to bring in a sense of heritage that an actor's previous work immediately conveys. We have Anulka Dziubinska (from the 1974 exploitation classic, "Vampyres") on board. I'm currently in talks with Emmanuelle Escourrou (of "Baby Blood" fame) whom I directed in the pilot episode of "Where Her Dreams End" (a 2011 series that never got picked). And I just re-opened negotiations with an actress from Walerian Borowczyk's "La Bête", which was a huge influence on "Antlers of Reason".



How did you convince Monica Calle to get involved in the film? What was her initial reaction?

I believe Monica watched a behind-the-scenes video, at first, in which actress/co-producer Luisa Torregrosa describes the creative process. Only then did she watch the first episode. She told me she was very taken by the minimalism; by how it all comes across so unmediated and singular. But what impressed her most was actually how the intimacy was handled.



Was Monica Calle comfortable in participating in the explicit sex scenes, and was she concerned if it might affect her already significant mainstream film career?

She only went as far as to express how raw and therefore exposing the scenes were. But once she committed and mutual trust was in place, there was never any issue. You have to put the Portuguese avant-garde approach into perspective here. Despite (or precisely because of) its conservative Catholicism, creative individuals do tend to navigate incredibly daring waters. Monica's stage output is probably the boldest being made in Portugal. And still, despite its experimental, visceral or explicit nature, she wins mainstream awards. For years, many often wondered when the two of us would work together. It has finally happened.



Most of the sex scenes depict sexual acts in elaborate detail, but they're nevertheless ritualised rather than spontaneous. Was this a technical limitation, or are you trying to say something through this?

The ritualisation is not just deliberate, but crucial. The idea has always been to elevate such moments to mating rituals. Something purer, more animal and natural (hence the explicitness), but that rarely happens away from the cold gaze of the hidden cameras of the ThalusCam network. Going back to your second question, the key here is the "recording". The notion that private moments in time are crystalised, mirrored and juxtaposed - with an ulterior motive.



Though this site focuses predominantly on nudity as it appears in the integral version of films, the scenes themselves often enter into the sexual realm, as if it is almost inevitable. Is it because directors are merely trying to keep up with society, or are filmmakers themselves setting the agenda?

That's a very interesting point. And I think it ties in with the way in which progressively more honest and therefore explicit depictions of sexuality have been incorporated into both independent and mainstream Cinema.
My perspective is that the art form has matured sufficiently now. As far as "setting the agenda" goes, I really think that every film that is made is a reflection of the times in which it was produced, but I do believe that films also shape the cultural discourse. They feed off each other.



Are people more obsessed and worried about sex these days than at any time in human history?

There's a growing appetite for depictions of sexuality, for sure. The level of obsession is up to the individual and I reckon the impulse to gaze is as old as the human race itself, but there is a greater thirst for seeing images that reveal more and more. Again, it's the digital age we live in. The immediate accessibility of explicit content generates a taste for it. You have to feed "the retina of the mind's eye", to borrow a phrase coined by Cronenberg.



What can we look forward to in the third episode?

Episode 3 will bring back the horror element to the foreground. Luisa Torregrosa's Mystery Woman will return and Nature will also take a big part. It's entitled "Re-Enactments" for a reason. The notion of actors playing a role within a role is part of the deconstructive quality that I intend to bring to the form, to the narrative and to the actual rituals.



How has your crowdsourcing progressed so far, and how many episodes have you lined up for the Morning Interim series? Have you considered making the series into a full-length feature?

The idea to turn the project into a series was a means to rescue it. The pilot episode was enabled and partially funded by Spain's Torregrosa Producciones, but we didn't know where to go from that point - despite being immensely proud of it. We're well aware of the experimental, abstract quality of the project and wanted to preserve that by all means.
It soon became apparent that the slow-burning narrative needed to span eight episodes, which makes it even trickier to fund. But, we're getting there - very gradually.
Frontier Media established The Vault of Alternative Cinema, as a means to centralise access to current and previous output. The approach has been to have the pay-per-view of the existing episodes (along with access to other films available to stream or buy on DVD) exclusively fund the production of the series. This does slow down the process, but, in an odd way, suits the unfolding of the mystery. Online patronage has also started contributing monthly to production costs. We hope that the support grows in time, so we can shorten the waiting period between episodes for fans of Morning Interim.



Streaming Link for Film | Become a Patron





The Nudity: Monica Calle, João Paulo Simões, and Erica Rodrigues
The film depicts variously interpreted scenes featuring explicit sex and nudity. Apart from Monica Calle and Erica Rodrigues who play a case worker (therapist) and cleaner (maid) respectively, the director himself appears in a starring role in the scenes concerned. Recommended Viewing..!



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A brief film review: “A Costa dos Murmúrios” [2004 Portugal]

Margarida Cardoso's maiden feature "A Costa dos Murmúrios" [Eng. Title: The Murmuring Coast] uses the backdrop of Portugal's early struggles at holding on to its empire in Africa, to study a couple's relationship that begins full of promise but falters as they get to know each other better.










Set in the early sixties, we see a newly wed Evita (Beatriz Batarda) arrive at 'picturesque' Mozambique to join her husaband Luis (Filipe Duarte), a mathematician-turned colonel serving in the Portuguese Army. As she adjusts to the tropical climate, she notices that Luis had lost all the passion he once had for mathematics.

She's nevertheless made to feel at home by Luis's captain Jaime (Adriano Luz) and his wife Helena (Monica Calle). Evita also notices that Luis looks up to Jaime and often makes an extra effort to please his superior. This becomes disturbingly evident during a hunting safari where Luis tries to outdo Jaime in 'exercising his fingers' against a hapless wildlife using a Kalashnikov rifle.

But a more sinister side to their camaraderie, and by extension Portugal's colonial policies, are revealed when Evita spends more time with Helena after their respective husbands go away on an army operation. The brutality against natives, it seems, is just another symptom of attitudes that they've willingly adopted from a bygone era where chauvinism and patriarchy is the norm, and duelling and honour killings, par for the course. A modern and liberated Evita struggles to come to terms with their world...

Cardoso uses a subject close to her heart - Portuguese colonialism in Africa, and through a documentary-eye, places her protagonist as a helpless bystander witnessing events from a distance - with the gathering clouds of resistance outside as much a reflection of her tumult within. It is an ambitious film, but it also succeeds to a large extent with its soul-searching. Recommended Viewing..!

Amazon DVD Link [PAL]

 

The Nudity: Beatriz Batarda and Monica Calle
The film features some nudity, with Beatriz Batarda in a scene vaguely reminiscent of Kristin Scott Thomas from "The English Patient". Monica Calle is briefly nude while emerging from the bath, and is later seen disrobed and left lying on the floor.



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Morning Interim: "The Safe House" [2016 Portugal, UK]

João Paulo Simões's anthology "The Morning Interim" is a series of experimental short films exploring 'the darker side' using a combination of abstract motifs and atmosphere. The first in this series, "The Safe House" pertains to a woman (Helena Salazar) discovering that her lover (João Paulo Simões) is not all that he seems, as she watches in dismay video recordings portraying another woman (Luisa Torregrosa) willingly held captive under his 'spell'.

The film borrows themes and characters from Simões's feature length prequel made over a decade ago (Antlers of Reason). When asked about the context for his anthology, the director, who firmly believes in a film's ability to delve deeper than a supposed plot, reluctantly discloses the backdrop, "There's a pagan secret society masquerading as a philanthropic organisation. They have a benevolent track record in helping individuals living in the margins of society, but are in fact harvesting amongst those that no one will miss. They seek the perfect vessel for their antlered god Thalus and seem to have found it in my character."

The minimalist film however doesn't shy away from using explicit imagery to drive its narrative, and the genre can best be described as an "erotic mystery". For those who'd like to stream the full episode and its prequel, you can follow the below link.




The Vault [Streaming Link]

 

The Nudity: Luisa Torregrosa, João Paulo Simões, and Helena Salazar



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The Franco-Portuguese history drama "Linhas de Wellington" [Eng. Title: Lines of Wellington] is based on events surrounding the Peninsular War of the Napoleonic era, when British forces under Wellington helped Portugal defend its territory against invading French forces. When the film's original director Raul Ruiz passed away during production in 2011, the job was taken over by his widow and long-time film collaborator Valeria Sarmiento - an editor and noted film director in her own right.

Rather than focusing on the war and the renowned Lines of Wellington itself, the film looks at the invasion's impact on troops and particularly the ordinary folk at the time - the disruption to their normal lives and the hardship caused through displacement and plunder, to highlight the fact that the horror of war will always stay the same as it ever was, no matter how many the protocols and treaties are signed.

The multilingual film, running close to two and half hours, has epic credentials and follows the fortunes of several characters as they make their way south towards Lisbon. The characters include troops bearing various colours, and also citizens - rich and poor. It is also star-studded, with big names such as John Malkovich (as Wellington), Marisa Paredes, Michel Piccoli, Catherine Denevue, and Isabelle Huppert making an appearance, alongside local stars such as Nuno Lopes and Carloto Cotta.

But with all its artistic and technical credentials, it would perhaps have better suited a TV series than a full-length feature (there was also a TV series in addition to the film). The main characters - and there are over a dozen of them, are almost equal in their importance to a narrative that can easily be trimmed into little episodes. The screenplay is therefore the film's main drawback because it takes a while for us to get acquainted with its characters that sometimes, is a bit too late. Which is a shame, because many of these characters have beautiful stories that deserve to be explored on their own. Like Dona Filipa (Marisa Paredes), Vicente de Almeida (Filipe Vargas), and his idiot-muse (João Arrais). Having said that, and despite it being aimed at a native audience, the film is also informative with captivating drama in patches, and has a good cast appearing in a decent production, which makes it Recommended Viewing..!

Amazon DVD Link [PAL]

 

The Nudity: Soraia Chaves, Victória Guerra, and Joana de Verona
Local beauties Soraia Chaves and Victória Guerra appear nude in separate scenes as prostitute Martírio and precocious middle class teenager Clarissa respectively. There is also brief nudity from Joana de Verona who plays the rebel Brites, whose character in a shocking scene, gets raped by French soldiers after her crying baby is killed by being thrown against a wall.



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Reflections on Portuguese History - 'Non', ou A Vã Glória de Mandar [1990 Portugal]

Apart from being the most revered director in Portugal, Manoel de Oliveira must surely also be the granddad among all veterans - he started making films in 1931, and is still going strong at the time of writing. That's one heck of a career in anyone's book, but in a way, he's merely catching up with lost time - there are sporadic gaps in his filmography due to several factors. A centenarian now, Oliveira is as keen as ever - based on the half a dozen films of his that I've seen to date, his more recent films are just as insightful, educative, and demanding of the audience as his earlier pieces. This is quite remarkable, considering that he belongs to the old school of auteur cinema, and like Michelangelo Antonioni and Theo Angleloloulos, influenced strongly by documentary style of film making. But unlike the illustrious names, Oliveira directs actors in typically mainstream fashion - partly due to the fact that his films are expected to bring in audiences if he is to get further projects. He is also not a fan of hand-held stuff or the constantly moving camera - he relies largely on the editing instead to convey any drama.

Oliveira was in his 90's when he made 'Non', ou A Vã Glória de Mandar [Eng. Title: 'No', or the Vain Glory of Command]. As fine a film it is, it is not his best work - for that there are numerous others to choose from - but it is one of the rarest of occasions where he uses nudity in film - and therefore, the blog's most relevant.

The film is told through conversations between an army lieutenant and members of his platoon, set during the last days of colonialism in Africa. A history professor before being drafted into the army, the lieutenant interprets events from their history philosophically, and formulates his theory on their legacy to the world, in terms of civilisation. The narrative threads Portugal's history through its triumphs and tribulations in order to make sense of what it contributed to the world, what it stands for, and the events take place against a backdrop of African guerillas closing in on them. For those interested in Portuguese history, this film is certainly Recommended Viewing..!

Amazon DVD Link [PAL]

 

The Nudity:
In the only nude scene in the film (and possibly in any Oliveira film), we see an interpretation of a verse from Portugal's most famous poet, Luís de Camões, eulogising Vasco da Gama's epic voyage that reopened European trade routes to India. They land in an island, and are welcomed with open arms by Venus herself and the resident nymphs. Teresa Menezes plays Venus, but it is the largely uncredited actresses playing the nymphs, who appear in the nude.



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Ana Moreira and Carloto Cotta in "Tabu" [2012 Portugal]

Rest assured, a lot of us will get to hear about one Miguel Gomes in coming years - an impressive and insightful young director from Portugal. I say so, despite having seen only the latest of his three features to date, "Tabu".

Storyline:
Distinctly separated into two parts, the first part "Paradise Lost" relates to Pilar, a middle aged woman in contemporary Lisbon (played by Teresa Madruga) worrying about failing mental health of her eccentric neighbour, the elderly Aurora (Laura Soveral). Aurora is already cared for by Santa (Isabel Cardoso), a black woman who she despicably keeps addressing as a witch. When Aurora's health deteriorates further and is admitted to hospital, she requests Pilar to find a person she had never heard mentioned before, a certain Gian Luca Ventura. But Pilar could locate and bring him along only to Aurora's funeral, after which Ventura (played by Henrique Espirito Santo) opens up to his story from fifty-odd years ago in colonial Africa, voiced over by the director sans dialogues in the second part, titled "Paradise".
We witness Ventura's (Carloto Cotta) passionate affair with a young but already married Aurora (Ana Moreira) in the foothills of Mount Tabu, Mozambique. To complicate matters, Aurora is already pregnant through her husband. But not only do they throw caution to the wind in pursuit of their affair, they also fall in love, and even attempt to elope. But the affair had to end abruptly, despite their mutual love. They will neither see nor hear from each other after that day...

That's the outward love story. Hidden within this pure and simple screenplay are nevertheless allegorical layers that are political, social, and philosophical, which intimately relates to Portugal and its colonial history itself. You may want to catch some of this in Gomes' own words from an interview HERE. The cinematography by Rui Poças is magnificent, and what's more, it is gloriously captured in good-ol' black and white film (how wonderful to watch the Kodak MPF logo roll past in a new film's credits), and in full frame too. Both the parts are yet distinctive in their various moods and I suspect, even film stock used; while the first part adds an air of melancholy with its dark grey tones, the second is markedly overexposed to recreate a youthful, 'sunnier' part of the protagonists' lives. The screenplay is very effective, and the script for the African segment was written directly while editing the shot footage. The film has virtues I haven't even touched upon, like the main cast's totally brilliant performances, perhaps the aforementioned interview with the director is worth checking out. Needless to say, this superb little gem is definitely Highly Recommended Viewing..!

Amazon DVD Link

 

 

The Nudity: Ana Moreira and Carloto Cotta
There's just a single instance of nudity from Ana Moreira and Carloto Cotta during a sex scene, playing the characters of young Aurora and Ventura respectively.







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