From that unforgettable feeling of seeing their first crush to the frustration over the realism around them, LGBTQ+ protagonists can convey a wide range of emotions on screen when their characters are written well. Today, I continue my coverage for this year’s Santa Barbara International Film Festival with Leonardo Martinelli’s “A Bird Called Memory” (Portuguese: Pássaro Memória) and Francesca De Fusco’s “Incroci.” These are two of the many films in this year’s SBIFF that shed the spotlight on LGBTQ+ characters.
But while they tackle different subjects, the filmmakers’ camerawork in both these films to focus on certain elements and characters reveals a common theme: a protagonist’s search for meaning and being, amid an environment not conducive for such a quest.
Here are a few thoughts on “The Bird Called Memory” and “Incroci.”
A Trans Woman’s Search for Her Missing Bird Mirrors Her Quest for Freedom
In director Leonardo Martinelli’s “A Bird Called Memory,” we see a trans woman named Lua (Ayla Gabriela) visiting an unusually quiet street in Rio de Janeiro. She whistles, as if calling upon an avian creature that doesn’t respond, at which point the people suddenly stop what they’re doing and stare at her.
This sequence sets off the story of the film, which centers around Lua’s search for her missing bird. That bird, ironically named ‘Memory’, seemingly forgot how to come back home. Lua expresses her concern, as the film shows her posting flyers all over Rio de Janeiro for any leads that would help her find Memory again.
With the film’s plot happening within the confines of a looming, unforgiving city, Martinelli presents a lyrical story of the yearning for freedom amid a hostile and suffocating place. Against the backdrop of the urban cityscape, “A Bird Called Memory” declaims its poetic aspirations with a mix of impassioned plea and apathetic monotony.
‘A Bird Called Memory’: Poeticism Takes Center Stage but Leaves the Heart Behind
Apparently, Martinelli’s films show a storyteller with a certain obsession with memory, with the need to convey to their audience the importance of remembering. And as far as I know, birds usually represent freedom, with the beauty of their colors and voices serving as their distinct features to stand out.
After watching the film, I felt the urge to ask: Were those themes Martinelli’s intent here? I couldn’t exactly say for certain. And I think that’s the main problem. Part of me feels like the director focused so much on capturing what he perceives as the hostility and general apathy of Rio de Janeiro as a city, that he forgot to work on the film’s heart. Indeed, the film can prude itself for gorgeous cinematography, impeccable framing, and kinetic editing. But if it were to take the bad with the good, then it should revel in its frustrating detachedness.
“A Bird Called Memory” looks like a film that’s easy to like with all its technical proficiency in full display. Take that away, however, and all you have is a half-baked story rife with symbolism that feels tentative with resonating — and doesn’t really connect when it tries.
Grade: C-
‘Incroci’: A Woman’s Chance Encounter Opens an Intersection of Self-Discovery and Desire
With “Incroci” (literal translation: ‘crossings’), Director Francesca De Fusco makes use of the camera’s gaze to get inside her protagonist’s head. That protagonist, Fede (Eleonora De Luca) returns to her boarding house late one night. Before getting to their room, she sees another girl walking along the corridor, who gets Fede’s attention.
She finds out the following day who the girl was: Valentina (Nico Guerzoni), a new tenant trying out for the local football team. The audience also finds out that the house (and the school) is run by nuns. These elements play out as Fede finds herself feeling emotions she never knew existed within her before.
Desire, I Want to Turn into You
At its core, “Incroci” is a film about our first crush — the butterflies, exhilaration, and thrill of concealing something as innocent as an attraction as if such a thing were a crime. De Fusco banks on De Luca’s performance to portray nuances that speak volumes to a woman’s coming of age.
I really found it interesting to see De Fusco’s camerawork here closely following Fede’s gaze. One particular scene highlights this where Fede searches for Valentina in an open field. The shot fidgets, wobbling as it searches for a particular element — a person. And once Fede finds her, the camera locks in and ultimately settles, as if not wanting to keep Valentina out of sight.
How De Fusco chose to end “Incroci” makes for a good discourse. The film does end in a rather abrupt way, and I think it’s a wise decision. That deliberate nature reflects the fleeting nature of said first crushes, after all. What’s more is that some of those short-lived attractions can have life-changing effects on other people in the real world.
And for the life of me, I have no doubt Fede’s life has changed, too.
Grade: B-
Both short films will screen at this year’s Santa Barbara International Film Festival, which runs from February 7 to 14, 2024. ‘A Bird Named Memory’ will screen as part of the festival’s Narrative Shorts 3 (Belonging vs. Migration). ‘Incroci’, on the other hand, is part of SBIFF’s Narrative Shorts 5 (Uncharted Territories) category. Follow us for more coverage.
