When she was a little girl, Ana saw a book written by her uncle Maurizio in the living room bookshelf. It was a book that narrated his trip to Congo, with photographs that made people dream. Afterwards, she lost track of the book and of the mysterious presence of that relative with whom she would discover to have a lot in common. Already a grownup, Ana will look for traces of Maurizio’s life, as someone searching for a piece of himself. Mourão will accompany this journey with her cinema, itself also an art of the voyage, many times physical ones, and others interior and emotional ones, triggered by photographs and pieces of memorabilia. Ana e Maurizio is a delicate circuit of gazes, a journey through palimpsest and the superposition between times, generations and images. Catarina observes Ana that, in turn, tries to look at what her uncle saw in his trip to Benares, India. Everything changes and nothing changes, we feel the wind of Rossellini’s cinema, but also the crossover of other Catarina’s journeys (Pelas Sombras; A Toca do Lobo). (Carlos Natálio)
The painter Ana Marchand always felt a bit dislocated in her family. The love of art and travel, where did she get those from? As a young woman she saw a travel book written by her uncle Maurizio Piscicelli and finally understood. Catarina Mourão (Pelas Sombras, A Toca do Lobo, O Mar Enrola na Areia) follows Ana’s familiar and spiritual journey. Who was Maurizio? Who is Ana? The face of one, the face of the other. Reincarnation are the several lives we live.