"In the unconscious every one of us is convinced of his own immortality."
(S. Freud in Reflections of War and Death.)

"Transience value is scarcity value in time."
(S. Freud in "On Transience", 1915)

We are always anxious
to finish something
or begin ...
Over time,
we suddenly realize,
the day has already gone, the sun has set,
the night has come and sometimes we sleep poorly,
because there is no time to rest.
Time is a big concern -
we suffer this anxiety of transience.

We know that nothing lasts forever
and in fact we know little about the permanence.
We are here only (maybe) for a few decades,
(... and the kids grow up too fast!).

What will become of our creations:
the city, the nature, the ideas, the cinema.
Material or immaterial:
love, longing, memory, history, feelings.

When we begin to penetrate this world of the cinema,
(not the cinema made just for fun)
(but the essential, genuine cinema
that makes us think and move beyond what we are)
we start to be aware of the time/space,
which is also filmic.
Another way of being
in the here & now created by the cinema.

A kind of immortality.
Thereby we begin to heighten the feeling of time,
to infringe the minute,
to carry on,
to flow with the hours.
By then we begin to desire more,
more moments of contentment.
Illusory or not, naturalistic or not.
Created in the bow of transience.
Cinema makes us remember and forget,
at the same time,
that we are just passing:
we, meat bone material;
it, cinema, light idea image time immaterial concept,
eternity.

The Catalan artist Albert Serra and the Frenchman Eugène Green, whose works are shown in this edition of INDIE 2014 in a complete retrospective,
know precisely the extent of this immortality
(otherwise their unconscious would have known it).
Two very different filmmakers who have in common
a unique awareness about the creation of a singular aesthetic.
Cinema is for both of them a subjective expression of their creative
constructions.

The first, Serra, with the inventiveness of his own universes created from nothing, inspired by history, through characters who are immortal because they are literary, (but also highly mortal because of the diegetic position they occupy in the film itself, materialized into objects of our observation).
How not to speak of Don Quixote, Sancho Panza, Dracula or Casanova, not to speak of immortality, of transience, of what remains in the trace of the universal memory?
Albert Serra's cinema, so paradoxically aware of such transience, takes a firm stand by fixing its claws into the contemporary: unusual, creative, bold, shameless, conscious.

The second, Eugène Green, is remarkable because of his choices.
Even his proposed breaks with filmmaking are deautomatized. Proposals of new risk patterns, but precise, rigorous, conceptual and observant.

Cinema as we dream
would be the cinema idealized by the artist.

Besides these two major film souls,
Indie also exhibits 29 new films, all of them never released in Brazil,
and all handpicked.
So that everyone can transform each of their own choices
into an infinitely better time.
A gift
of some experimental risk.
So that you can enjoy this film festival
(which is aware of its immaterial transience
and/or permanence)
for a few eternal minutes and hours.

francesca azzi
Indie Festival