“IMO” is a feature film written and directed by the newcomer director Bruna Schelb Corrêa.
The fiction built within the narrative has a fantastic and dreamlike ethos, on an attempt to unravel, through images, the minutia of the female reality - which is constantly accompanied by all sorts of oppression.
The imaginary, understood as a personal and abstract field, being it non-linear or logical, serves as a tool to reveal the emotions of the main characters, as do their surroundings and situations which they supposedly lived through previously. These elements combined form the structure of the narrative, that deals with the non-conformation of a trans woman in face of society; the struggle of a young woman against beauty standards; and finally, the vengeance of a woman who has her body served as a meal.
The gender debate to which the film invites the watcher into is one imbued with poetry, be it visual or emotional, without leaving behind the crudity of reality, through a woman’s eye.
MEDIA AND CRITICS
MUBI (English) Will latin-american women filmmakers finally get their due Por Ela Bittencourt https://mubi.com/notebook/posts/will-latin-american-women-filmmakers-finally-get-their-due
Desistfilm (Spanish) Mostra de Tiradentes 2018: La urgencia y la invención Por Victor Guimarães http://desistfilm.com/mostra-de-tiradentes-2018-la-urgencia-y-la-invencion/
Revista Moventes (Portuguese) Além do vísivel: “O olho e o espírito” e “Imo” Por Laís Ferreira https://revistamoventes.com/2018/01/24/alem-do-visivel-o-olho-e-o-espirito-e-imo/
Vertentes (Portuguese) O presente é mulher, o futuro é mulher Por Francisco Carbone http://vertentesdocinema.com/2018/01/24/critica-imo/
DIRECTOR: Bruna Schelb Correa
Brazil
2018
67 MINS
RATING – 18
Doors 7:30 PM
Film 8:00 PM
“Perhaps the most promising sign this year in Tiradentes was Imo, a film by young filmmaker Bruna Schelb Corrêa, which played in the main competition. Corrêa’s film isn’t so much a narrative with clear character arcs or story denouement as an episodic compilation. In three distinct stories, we follow women in seemingly ordinary surroundings that quickly turn bizarre. While Corrêa’s work has been likened to the Czech animation director Jan Svankmajer, she sees her precedents more in Maya Deren. Still, Corrêa’s aesthetic, with mutilated bodies and language that is more explicitly Freudian and sexual, indeed recalls the Czech animation master more than Deren’s illusive experimental films. Where Deren stresses the subliminal, associative and rhythmic aspects, Corrêa is more on the narrative, explicitly surrealist and grotesque end of the spectrum. Whatever the comparisons, or the small pitfalls of Corrêa’s storytelling that leans at the very end towards the obvious, she is a promising, fearsome voice.”