Duda Gorter 

Looking back at Francamente… in 2003, how do you feel your voice and approach as both a screenwriter and director have evolved over the past two decades?

Ever since i was a child, my mother used to take me to the theatre, to matinee screenings at the cinema, and so on…I had a very interesting childhood, surrounded by stimuli that fuelled my imagination, which inspired me to write short stories from a very young age. “Francamente…”arose from observing an everyday scene involving a lady in a taxi. My creative process relies heavily on observing people in their daily lives: this modus operandi of mine remains the same; what has changed is that nowadays i have more self-confidence and greater technical and artistic mastery, and as a result, i feel much freer to be bold in my cinematic language and style.

You have a strong history with the Cannes Short Film Corner, showcasing Na Madrugada there in 2009 and Fantasia Improviso in 2016. How did experiencing a world-class stage like Cannes impact your perspective on independent filmmaking?

Having had two films at the Cannes Short Film Corner is a great joy. I had the privilege of attending the festival to promote “Na Madrugada” and some years later “Fantasia Improviso”, and these experiences have deepened my passion and faith in the world of auteur/independent cinema, as i made contact with various filmmakers and saw for myself that daring stories find a passionate audience: there is a large audience eager for unusual stories that break down barriers.

Na Madrugada (Journey into Night) suggests a very specific mood and atmosphere. What draws you to exploring nighttime narratives or specific nocturnal themes in your visual storytelling?

“Na Madrugada”( Journey into Night) is a unique film because the original idea didn’t come from me: i adapted a short tale by a Brazilian writer, Heloísa Seixas, and the experience was great. I’ve always enjoyed horror films and, what’s more, i’ve always been a night owl. As soon as i read this short story, i loved it and asked for permission to adapt it for the big screen. Generally speaking, stories set at night/with a mysterious atmosphere immediately grab my attention, as i’ve always enjoyed that sensation of a chill running down my spine or a slight sense of unease.

Your 2016 project, Fantasia Improviso – 1 Movimento, explicitly references classical musical structure in its title. How does music inform your writing process and the rhythmic pacing of your film editing?

The initial idea behind “Fantasia Improviso-1 Movimento” was to explore the unease felt by a piano teacher in crisis( both personal and professional): the sense of unease is ever-present in my films. As my protagonist was a pianist, i immersed myself deeply in the world of classical music, and the entire filming and editing process was carried out with great precision, using the tempo of the classical piece i featured in the film as the guiding rhythm for the whole work. Another aspect that helped me was having excellent professionals on my team who already know me/are familiar with my aesthetic preferences – in all my films to date, i have worked with the same sound engineer, Bruno Armelin, and with intelligent and sensitive editors, Renata Baldi and Tuco. Having professionals i trust completely on my crew is one of my secrets to being able to take ever greater risks with my cinematic language, as i know i am well supported.

As a creator who handles both the penning of the script and the directing behind the camera, how do you manage the transition from the solitary act of writing to the collaborative environment of a film set?

In all my films to date, i’ve written all the screenplays myself: i actually quite enjoy this solitary stage of the writing process because, when it comes to being in the set, it’s wonderful to be reunited with my cast and crew – most of the professionals are already very familiar with my style: for instance, my Director of Photography, Jacques Cheuiche, has already been my creative partner on three films! I adore that transition from the solitude of writing to being with my team on set.

The independent film industry has undergone massive transformations since you released your early work. What do you think is the biggest challenge—and the biggest opportunity—facing indie directors today?

It’s true! There have been many changes during this period: i shot my first two films on 35mm and, after that initial phase, i started working with digital cameras. That change alone was significant, and now we are witnessing the rise of AI. These are major challenges in a short period of time. We have to adapt and have a clear understanding  of the technical tools we want to use – It is crucial that we develop our own style. That’s it: the great challenge and the great opportunity lie in having our own style/our artistic signature.

Your work has successfully crossed borders to find international audiences. How important is it for independent projects to cultivate a global footprint, particularly in expanding markets like Asia?

I am absolutely delighted with the success of “Moisture”. It’s already won over 200 awards at festivals around the world! I never imagined such success for this dramatic dystopia, which i wrote the script in a single night at my living room table. The fact that “Moisture” resonates with different cultures is wonderful, and the traction this film has achieved in the Asian Market is a real joy( to say the least) for me, as i’ve always wanted to connect with cultures that are very distant from my own( Brazilian), and now that moment has finally arrived for me!

When your work was recognized by our panel at the Singapore Film and Script Festival, how did that moment resonate with the overall journey of the project?

It was a tremendous joy and honour to have “Moisture” recognised at the Singapore Film and Script Festival! I had never imagined that one of my films would resonate with the people of Singapore, a country so far away from my native Brazil. Having opened this pathway with the Singaporeans moved me deeply and sparked my imagination for my next project.

Now that you are stepping into the role of a juror for our next edition, what specific qualities are you hoping to discover in the submissions? What makes a film truly unforgettable to you?

I am thrilled to be part of the jury for the next edition of the Singapore Film and Script Festival and i’m confident i’ll see films of great narrative /technical quality. I think i will see a wide variety of films and…what makes me really happy and inspires me is seeing films that go beyond traditional storytelling – movies that provoke/unsettle me. I am really looking forward to the start of the Festival!

With a rich portfolio of shorts and distinct projects already established, what themes, genres, or stories are currently capturing your imagination for your next creative chapter?

I am currently in the midst of writing the screenplay for my next film, and i can say that i’m creating another dystopian drama, but…this feature film will be far bolder/more provocative than “Moisture”, with some supernatural elements and a touch of lyricism along the way. It will be my most provocative film yet…