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What matters is picking things up again, mess them up, try to push them forward in a different way. What we can try is to do something that seems to be new, or that is shown in a whole different way—even if not necessarily intentionally. Her poetic documentary essay Correspondences gained a main competition berth in Locarno.
Yet make no mistake: the filmmaker refuses all sorts of comparisons and prefers to see herself in a very specific lineage of filmmakers, both canonical and non-canonical. Instead, Azevedo Gomes prefers to add something personal to those tropes—if you look at her filmography, you will find a peculiar desire for experimenting. Azevedo Gomes assumes that experimentation.
At the same time, part of the experimental nature of her work comes from the production limitations. Her experimental fiction Altar was shot very much on her own, and the constraints imposed by the tight budget contributed to its austere visuals. Its theatrical, distanced staging is a good example of her penchant for narrative experimentation. In The Revenge of a Woman you can already find the seeds of The Portuguese Woman : the idea of a narrator introducing the tale of a noblewoman fallen in disgrace has both a continuation and an inversion in the new film.
The German actress seems to be a flesh-and-blood portrait of Dorian Gray, showing the trials of time, while the real woman remains immaculate. Instead, she speaks of contemporaries of Musil in early 20th century Europe, and especially of artist Paul Klee. You know, the small drawing of the cutest angel with wings, being blown away by the wind, who, upon seeing all the world in ruins, all the rubbish that mankind shows us every day, wants to restart everything, rebuild everything from the ruins Quoting from Benjamin and Klee comes naturally to a filmmaker well-versed in classical art and classical filmmaking.
