Men’s cinema with a detail of Jesuit Barbosa in Ney Matogrosso: ‘These are explosions on stage or in the interview, Esmir Filho talks about invitation to write and direct the artist’s biography, which is already playing in the CinemasPo Redation

It was the height of the pandemic when Smir Filho (Mouth) received the invitation of Paris Film and Paris Entertainment to write the script and driveMan with hbiography of Ney Matogrosso which is already in theaters.

By accepting it, the filmmaker’s first step was to listen to the artist’s discography in chronological order and establish a clipping that made sense to the story that would be told in theaters. However, he found this bow while reading the memories book “Race mutt”written by Ramon Nunes Mellowhich starts with the phrase: “I always react to authoritarianism”.

The work begins by addressing the complexity of the Ney with the father since childhood and the collection to “Learning to be a man”. From this inspiration, Benish He designed a protagonist with a desire to be an artist since he was a child and all the figures of authority, who tried to overshadow him on his way, were as obstacles to Ney Overcoming and becoming the artist who is, with the freedom that emanates.

“It was a gift to me,” said in an interview with Rolling Stone Brazil. “I’ve always tried to raise questions about affections, relationships, sexuality, desire, the sound of bodies, physicality. I received this possibility of writing the story of this artist and said, ‘Wow, it’s all about the themes that I like to talk to the cinema.”

In all, the production has 17 songs, 15 part of the interpreter’s repertoire, which designed “The Spine Column of the Movie” And they are essential parts of the narrative. “As I was elaborating every phase of the life of the Neyhe was putting how he related to that song. While you see Ney On the stage, watching him sing, perform each song, you go into life and know his journey, both artistic and intimate ”, explains.

“I need to translate you into the cinema”

The biography had the endorsement of Ney Matogrossowhich collaborated with the Benish and read 12 versions of the project. From the first conversations they had, they worked together to rescue dialogues and sincerely convey the different phases, relationships and the trajectory with a richness of detail. “THE Ney It has a precise memory. He remembers everything, okay? But of course there are lapses, there are gaps, and then I needed to understand the feeling of each scene ”explains.

Who takes over the post of protagonist in Man with hand Jesuit Barbosa (Tattoo), which impressed the audience with their transformation to the paper as soon as the first disclosure materials of the film were released. The process of building the character was gradually done and was attended by several professionals. “I told him: ‘Jesuitarrives without contours. Let’s draw this outline together ‘”remember Benish.

For this, the team had five fronts: cast preparation with Roberto Audiowhich put Jesuit in situations that Ney lived; The preparation of the dance body with the dancer and choreographer CRISTIAN DUARTEto understand how the singer moves and prepares for the stage; singing and prosody classes; physical preparation to help Jesuit losing weight and reaching the body of Ney; and finally, the characterization made by the makeup artist and characterizer Matias Trujillo and the costume designer Gabriela Timra.

“When he went through all this preparation front and arrived in the dressing room, he made up as Neyput the wig, a prosthesis that made especially to have their teeth separately, and arrived in the set, was Jesuney“joked.

Our interest was from the inside out and, from the inside, he already had a modulation Ney. Both are performic artists, they are very full people, who are very reserved in everyday life. But they are explosions when they are on stage or on the scene. I always thought they exuded the same perfume. ”

Without lies and without shame

Since the beginning of the project, Ney He stressed the importance of making a movie without lies and no shame in portraying his life and his family and loving relationships. And as we see the rise of his artistic career on screens, we also know his passions, like the singer Cazuza (Julio Reis, SOS: Women to the Sea 2) and the doctor MARCO DE MARIA (Bruno Montaleone, Lost).

The director says that the squad worked with two intimacy coordinators, who acted to help set limits, make them comfortable and confident in sex and nudity scenes, filmed with the reduced set.

Furthermore, Benish It points out that the intimacy of the singer is not present in the plot free of charge. All have narrative meaning within each scene. “We are talking about the first time of Ney first. Then let’s go to a moment where he throws himself on a whirlwind of bodies, because he doesn’t want to be with anyone. He doesn’t want anyone to wake up the next day on his bed. We are showing a Ney detached, perhaps even afraid of commitment. And then he is enchanted by Cazuzacomes the first love and what is sex with first love, with passion, horny and transcendence? ”.

They are not just bodies exposing themselves. They are telling a story when they are living that sex scene. There is a very respectful process of these scenes and that, to Neysex is life and that’s what I wanted to show. It builds affection through sex and body scenes as well. Sensuality is inherent in our body. ”

The past is not black and white

Man with hYou are not afraid to use colors when recreating the past in the big screen. This was a concern that began in the direction of art of THALES JUNQUEIRA. “He had a very beautiful idea that he said: ‘The problem is that there is a lot of movie that, when it will talk about the past, it is chromophobic.’ I had never heard of it. I loved it. [gente que tem] Fear of putting color because you think the past is black and white, you think the past is sepia, that the past is labeled and the past is much more colorful than today. ”

From the sequences on the beaches of cariocas to performances in different Brazilian states, the movie Exla Vida. Together, the performances, direction, camera movement, photography, lighting and scenarios enhance the public experience. “Everything was built with so hard and so -called passion that it overflows on the screen, as if you were there. […] It’s like going to Ney’s show, but you go to the movies. Only you come back with him home. ”

Also read:Ney Matogrosso reveals that he “collapsed” watching Man with h: ‘Everything that is there is true’

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