Curiosities from the Cabinet (every story is
always a remake of another story)

Portugal, 2019, HD video with 3 synchronized channels, colour, 0:05:05, loop.

Direction, editing, voice: Eduardo Brito.
Sound recording: Tiago Cutileiro.
Colour: Luís Costa.
Acknowledgements: Cru Encarnação, Daniel Blaufuks, Marta Navarro Nunes, Tiago Cutileiro, Abílio Hernandez Cardoso, Bando à Parte, Jorge Santos, Luís Costa, Ricardo Freitas e Rodrigo Areias.

This is a work made from two visual and two sound typologies. Where images are concerned, on the one side, fixed shots of places: Weißensee in Berlim, where Robert Wiene filmed “Das Cabinet des Dr. Caligari” in 1919, in the Lixie Atelier, and the vicinity of the Marmorhaus, the theatre where the film premiered the following year; the shooting site and the screening site revisiting each other, a century away. Then, shots of a page where the screenplay is literally re-written, a hundred years later: film as a possibility to represent the writing, to shoot from the word. As for sound, the diegeses of the abovementioned spaces is the basis for a narration-collage, from excerpts of “From Caligari to Hitler”, by Siegfried Kracauer, “Das Cabinet des Dr. Caligari”, by David Robinson, personal memories of Berlin wanderings and small extracts from verses “Be My Wife”, “Heroes”, “I’m Deranged” and “Where Are We Now”, by David Bowie, and “Men of Good Fortune”, “Berlin” and “Magic and Loss”, by Lou Reed. What was I going for with this? A nod to the film and to the memories of a fascinated viewer, a cloud of its formalism (by representing the places of shooting and screening, the screenplay, the spectatorship), in a mini drift through the city. In other words, to record what is not happening (or the nothing happening) where it happened.

Eduardo Brito

Eduardo Brito works in film, photography and writing. He holds a master’s degree in Artistic, Museology and Curatorial Studies with the dissertation “Claro Obscuro – Em Torno das Representações do Museu no Cinema”, by the Faculty of Fine Arts of the University of Porto, in which he has a teaching and research position, in I2ADS. His work has focused on the subjects of truth-fiction-memory, as well as on the relationship between the written word and image, as in the books “As Orcadianas” (2014) and “East Ending” (2017) and the photographic series “Un Samedi Sur Terre” (2017) and “Histórias Sem Regresso” (2018). He wrote the screenplay for the short films “O Facínora” (Paulo Abreu, 2012), “A Glória de Fazer Cinema em Portugal” (Manuel Mozos, 2015), and “O Homem Eterno” (Luís Costa, 2017) and, with Rodrigo Areias, for the feature film “Hálito Azul” (2018). He directed the short films “Penúmbria” (2016) and “Declive” (2018).

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