The land of many waters

Senegalese filmmaker Djibril Diop Mambéty said that to make cinema is very simple, just close your eyes, then we reopen and we have a story. One of the desires that motivated me to make The land of many waters appears in my master's research, when I close my eyes I see that the wallons, with a strong smell of sewage, brown liquid, with abandoned sofas, were rivers and still struggled to be , at the time I made some films in my imagination. Our body, as well as the territory we occupy, is composed fundamentally of water. To make movies, to tell stories, putting yourself in motion in the flow of memory is to understand running water. Brazilian cities were built on top of rivers, in a disorderly urban growth, allowing the production of inequality, in a world view that understands nature as a resource. When we think of the rivers in the Fluminense region, as well as many rivers in the Brazilian territory, in a serious state of silting, we perceive a mark of the absence of water in our affective memory and in the monotheistic perspective of narrating the land. How to rekindle the dream territory of the waters of the Meriti-Pavuna River in us? Through dreams, the film allows itself to bypass and meander the imaginary of a comprehensive and abundant land, resulting in transmutations that open horizons of connection with local memory. The Tinguá biological reserve, where part of the film was filmed, struggles to continue to exist, being strongly threatened by the current Brazilian government, it concentrates the largest preserved area of Atlantic Forest in Rio de Janeiro in the Baixada Fluminense. A river that struggles to continue to exist, either in our imagination, memory and dreams or on its way through the city.