Experiencing Interruptions?

Nature

We need contact with the world, whether for the aesthetic experience or the need to absorb fresh air and nutrients. However, with the destruction of our environment, with unbreathable air and overwhelming heat, this relationship becomes dangerous. Microplastics suspended in the air circulate all around us. How long will it be possible not to see the damage related to their production? Smoke from fires destroys biomes and emits large quantities of smoke and toxic particles into the atmosphere, with “flying rivers” of humidity that turn into “rivers of smoke”. I won’t kiss a bee, but it will give me honey anyway, if it is not annihilated. We defend oil exploration when the world can no longer support the burning of fossil fuels. Environmental madness makes us our own enemy. Extreme climate change is the bitter result, in which the end of species seems increasingly likely.

Perhaps out of a desire to recover and preserve the nature of planet Earth, the images of the world present in “Nature” show few interferences, defects and glitches, apart from the multiple mixtures of them among themselves, which may be the transgenic mixtures themselves. The human figure is left to direct the greatest distortions that fall to it in an awkward way, with an infinite stutter that attests to its capacity to enhance its own destruction. As a character who is almost an object, we have a pathetic creature as an almost author who tries to position himself in the midst of chaos, but seems to melt amidst the attempts to emit something intelligible or to move, when his steps and the scenery seem to take over the reins of his movement, causing him to sway like paper and lose his three-dimensionality in the video. The emphasis remains on the disconnected movement that tries in vain to explain the complete absurdity in which we have arrived. No matter how hard he tries, the character, often faceless, is a fish out of water who seems to have lost his role in the narrative and become just another object in the scene, with his performance often blending in with other shots and scenes through the use of chromakey. Despite trying to control the situation with his complex artifacts and theorems, he is thrown from one side to the other, either by the lightness of the garbage that floats and carries him or by the weight of the solid waste that falls on him like a bomb.
Fabio Mourilhe

  • Fabio Bola
    Director
  • Fabio Bola
    Key Cast
  • Project Title (Original Language):
    Natureza
  • Project Type:
    Animation, Experimental, Short
  • Runtime:
    5 minutes
  • Completion Date:
    February 14, 2025
  • Country of Origin:
    Brazil
  • Country of Filming:
    Brazil
  • Film Color:
    Color
  • First-time Filmmaker:
    No
  • Student Project:
    No
Director Biography - Fabio Bola

Fabio Mourilhe (Fabio Bola) has a PhD in art from UERJ, a post-doctorate in art from UFRJ, a master's degree in design from PUC-Rio and a degree in web design. He also has a PhD and a degree in philosophy (UFRJ and UERJ). He has been developing a diverse range of work, including audiovisual.

He has been developing a diverse range of work, including audiovisual. See several projects on Behance: https://www.behance.net/magneticstudiobr
- In the late 1990s, he began developing work with flash animations and their expansions through javascript. The technological resources available with these tools allowed him to create works that are close to both design and art. In this context, we have Cinepoemas (2006 and 2023) with the writer Fernando Gerheim, animations on typography for Magnetic Records, animated websites based on artistic works (on a painting by Malevich, for example), websites with animations for Ziraldo (Eternet website), various animations for Alexandre Perlingeiro (Dakshina Tantra Yoga), animations for the text of designer Luli Radfahrer (Cyberparnasianismo) and animations on comic strips.
- Recently, at the end of the 2010s, he began developing educational videos for music lessons, with scores that move in parallel with the musical sequence and with the action of the hands playing the pieces on the piano. For music, he also began developing video clips mixing real images and animation for the Hipecirco and Fabio Bola X projects.
- In 2023, he began using image generation and image sequence resources to create videos through Stable Diffusion Deforum installed on the Google Colab notebook or simple SD on Automatic 1111, Runaway Gen 2.0, Leonardo AI, Seaart with ControlNet and Wombo Dream.
- He is co-author of the book Philosophy of art, which provides a specific space for audiovisual (cinema); and the chapter “Beyond formalism”, which discusses cinema, phenomenology and Jean Luc Godard.
- His doctoral thesis in art, “Expressibles, sensations and expressivities in comics at the end of the world”, uses some concepts that Gilles Deleuze used in Cinema 2: Time-image, such as crystal-image and pure optical image; and in Cinema 1: Movement-image, such as the northern line. He also works with other concepts specific to cinema, such as the sequence shot, and addresses the aesthetics of German expressionist cinema; relationships between comics, video games and cinema; relationships between cinema, futurism and surrealism in the dream-image; events between comics frames and Michelangelo Antonioni; and theoretical comparisons between the disnarrative in cinema and comics.
- In his article “Simulated make-believe games: reality and fiction in comics”, we use concepts from the cinema of Epstein, Pasolini and Jean Rouch to think about comics.
- In his article “Aesthetics of violence in comics”, we discuss silent film and adaptations of superheroes from comics to cinema. - In his article “Grotesque in Comics: Considerations on a Bakhtinian Bias”, we have an exposition of the parodies of cinema produced by Mad Magazine and the graphic experimentation of cinema foreseen in comics.
- In his book “The Frame in Comics”, we have comparisons between the framing of comics and cinematographic practice.- In his article “Milo Manara: An Adventure in the World of Eroticism”, we have analyses of the joint work between Frederico Fellini and Milo Manara.
- In his article “Ontology of (Mass) Art in Comics”, we have an analysis of certain aspects of the transposition of comics to cinema.

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