Short digital film – Noir – 2016 – B&W

Teaser – Disenchantment


Túlio is a detective immersed in a world of crime, smoke and shadows. One day, he remembers a client, and she comes out of the smoke, like a dream, to become a woman, a passion that shouldn’t matter, but has become very concrete for the detective.

Production credits

Director, Writer and Producer: Hamilton Rosa Jr.
Ass. Diretor and Producer: Fernanda Paixão
Executive Producer: Leandra Aiedo, Miguel Rodrigues
DoP: Miguel Rodrigues
Cast: Mário Möhrle Nelly Trindade Carmen Luiza Moura
Guest appearance: José Ornellas Adriano Arbol Felipe Rosa Anderson dos Santos Swara Sampaio
Editors: Hamilton Rosa Jr., Guilherme Pedroso and Carlos Andres Medina
Audio: Carlos Martines

Director’s Statement

The original idea:

“At the time I was reading“ Liquid Love ”by Zygmunt Bauman and, at the same time, watching a Film Noir cycle, with films by Welles, Mann, Ulmer and Lewis. Bauman speaks of a world where the materiality of relationships flows out of our hands and I thought that I could cinematically translate this anguish using the elements of noir, the play of lights and shadows and the smoky atmosphere. Initially I didn’t even think about making it into a film, but an experimental study. In the script, the first name that came to mind was “Volatile” and the scene itself took place exclusively in a massage room, there were just two characters, the masseuse and the client, and the intention was to work on the attraction game and sensuality that was implied between the two. The fact is that both referred to a third character, a detective, who only materialized through the lines. The “presence” of this detective was getting so strong in rehearsals, that I decided to expand the plot”.

Colonized influence?

One can suggest that this imagination is manifested in a poor way in Disenchantment, reaffirming that the film reproduces a colonized vision. I agree with the influence, but not with the dream’s poverty classification. We have been culturally colonized by Hollywood for 100 years and that is a statement, not an acceptance. The film flirts with a typical American tradition, Film Noir, but, in essence, “Disenchantment” represents who I am. Perhaps the cinema cannot instantly solve the harshness of life, but I find the state of contemplation of the events presented very revealing. Brazil is a country that hides its truths behind many lies. It sounds like a joke, but this reasoning is quite legitimate. Why, if we live in this world of fable, do we have to hide the part of the dream that we reject?

Italian filmmakers have done this for decades in western and horror, so why can’t we? Disenchantment translates my desire, creating an intimate and pure cinematic narrative.

A friend found it impressive that the concreteness of the film exists on the screen, but it doesn’t have the same grace if told in a conversation. It is also not suitable as writing. You have to see it on the screen. Disenchantment is justified just like cinema.

Hamilton Rosa Jr.