FILM “ ARQUEOLOGIA “ | DRAMA | 180 MINUTES | BRAZIL | 2024 Carlos Eduardo Thompson BRITTANY DOWDEN, SURFER

FILM “ ARQUEOLOGIA “ | DRAMA | 180 MINUTES | BRAZIL | 2024

Carlos Eduardo Thompson

BRITTANY DOWDEN, SURFER. Surfer and activist for the preservation of underwater archaeological heritage, has a less technical and more intellectual profile compared to Karen. She is a character who chooses not to clash with the system, with corruption. She chooses to form local partnerships with other surfers and care for refugees arriving at the Brazilian coast, fleeing racism in Europe and world wars. It is the year 2035 and Brazil has become one of the countries with the lowest number of refugees in the world. Brittany Dowden watches. She is an observer who takes care to expose the gap between identity and otherness. The images and scene art for the character Brittany Dowden open to the ambiguity of appearances and statements, resist, in practice, the attempts at a unifying synthesis of sensation and idea that characterize formal films. The dialogues and images of Brittany Dowden who is a surfer who uses emotion,empathy produces a character who becomes sensitive to the force of indeterminacy and not determination. unlike many works of so-called contemporary art, this feature film requires, for its understanding, long texts in which the actress — turned critical — takes her proposal, sometimes very simple, as the object of an in-depth discourse. in Brittany Dowden, the character serves the sensitive experience of the body in a situation, on the diffuse border between the rational and the sensitive. in it, this brittany starts to inscribe the subject in a writing, simultaneously effigy and graphic: videography.The action of an art in cinema in which a new regime of sensitivity is cultivated, renews the possibilities of poetic writing, as it is a film called archaeology, it talks about the archaeologist woman, the different archaeologies and 90% of

people do not know what it is. archaeology. Not by chance, when I wrote the text, I moved, very naturally, between visual art and poetry. The image, neither mental nor merely perceptive, makes this character, at the same time, more and less than himself: epiphany, manifestation, appearance, but also disappearance, annihilation, extinction. This oscillating character of the image of the actress in the scene is never properly realized, because it is not submitted to an external purpose, dependent on the author's concept, morals or politics. the visuality of the scenes passes through the crossing, in the given image, of what is not given and what cannot be given, what is not said and cannot be said. a throw of the dice will never abolish chance. a fringe of indeterminacy that makes the image come alive and allows art to touch our sensitivity with the strength of the character, and that repeats and reinvents time. the character brittany dowden scene art concept was created from real facts, which are the destruction of underwater archaeological sites along 7,000 km of coastline and 150,000 km of rivers in brazil by diving companies that promote the so-called tourism ecological system during the day and night they put dynamite in archaeological sites and the brazilian navy cannot control. In the character's text, I find a way to prolong current relationships - the facts - with a more emotional thought and language, based on this question about how she will form alliances with surfers, fishermen and local people. visions of an anonymous identity, dealing with circular repetition, without origin or destination. the interpretation are passages and accumulations that always return to the actress' view. The script, both consecrated and abolished, shows its insistence to the observer. As much as he tries to fill, with his own narrative, the proposed sequences, his place of speech and look, inscribed in the structure of the experience that the artist makes available, is that of deferred repetition, without chronology but with presence. With this, film archaeology reiterates its commitment to a new cinema, in which we see, experience and think about the otherness of time to the linear narrative, the character replaces a spiraling circularity, without a happy ending... we are subtly led to the strangeness of the image and the interruption of speech. In place of rhetoric and its arguments, even implicit, we have a poetics of enigmatic presentations. the participating spectator, in reflex, returns to himself as an enigma.