LIZ’S WAIT suggests reflection on our intimate and fraternal ties, starting from a love conflict narrated by the perspective os solitude, so that we can debate on a current theme and about the relevant importance in the world of “Gender Equality”.

 

The structure of the film revolves itself around an occult protagonist, hidden in the narrative, who has disappeared, until we reveal him in the final minutes of the movie.

In order to increase the feeling of the subjects covered, we work in the language of subtle energies of Yin and Yang: Cold and heat, water and fire, earth and heaven, the lyrical and the pragmatic, we work with contrasts in the masculine and the feminine world, as if we were on an endless path.

 

Scenarios and photography are representations of the characters' interiors, which end up becoming bigger and bigger in this context and become representations of a collective in society, and more than that, of a creative energy.

In the feminine part of the movie (in the sense of polarity), we shot all scenes in winter, with a lot of lyricism and a lunar energy, both in the scenic time and in the way the photography has been captured and especially in the sound of the various actions that are explored dietetically, with dilated times and poetic plans.

In the male part which takes part in Venezuela, we have a purposive breach of language. The camera in the hand becomes evident and the cuts are more dynamic, colour and powerful, representing a rather yang energy.

At the end of the film these roles are reversed, just as the protagonist Liz becomes aware of the importance of their individualisation.

 

The relationship of intimacy is also explored as a visual dramaturgy in the geographic relation of the main characters. They are physically distant from each other, when they are emotionally distant, and increasingly physically close as they experience the rebirth of their relationships.

The filming took place in the cold and extreme south of Brazil and in the tropical hot summer of Venezuela to archive a maximum contrast.

DIRECTOR'S VISION