Visions from Pauline Curnier Jardin’s filmic research

Studio Notes

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Legend

[1]
Original poster for ‘Mar de Rosas’ (‘Sea of Roses’), directed by Ana Carolina (1978), 1h 30 min. Courtesy of Ana Carolina and Crystal Cinematográfica.

[2]
Extract from Barbara Kruger’s review ‘Ana Carolina: Mar de Rosas’ published in ‘Artforum’, April 1987. Available at https://www.artforum.com/print/reviews/198704/ana-carolina-mar-de-rosas-62259.

[3]
Production still from ‘Sea of Roses’ depicting mother and daughter, directed by Ana Carolina (1978), 1h 30 min. Courtesy of Ana Carolina and Crystal Cinematográfica.

[4]
Production still from ‘Sea of Roses’ during the car journey, directed by Ana Carolina (1978), 1h 30 min. Courtesy of Ana Carolina and Crystal Cinematográfica.

[5]
Production still from ‘Sea of Roses’ during the car journey, directed by Ana Carolina (1978), 1h 30 min. Courtesy of Ana Carolina and Crystal Cinematográfica.

[6]
Patricia Pisters, ‘New Blood in Contemporary Cinema: Women Directors and the Poetics of Horror’, Edinburgh University Press, Edinburgh (2020), pp. 3-4; 23-25; 36-37.

[7]
Glauber Rocha ‘The Aesthetics of Hunger’ (1965) in ‘Tropicália and Beyond: Dialogues in Brazilian Film History’, ed. by Stefan Solomon, University of Reading and Archive Books, Berlin (2017), p. 63.

[8]
Stefan Solomon, Tropicália and Beyond: Dialogues in Brazilian Film History, ed. by Stefan Solomon, University of Reading and Archive Books, Berlin (2017), p. 17.

[9]
Screenshot from ‘Sea of Roses’, the characters sit on a load of sand in the dentist’s room.

[10]
Emanuela Moroli, ‘Le ragazze venute dal Brasile’ review from the Sorrento Feminist Film Festival’s edition on Brazilian women filmmakers (organised by Le Nemesiache), published in ‘Paese Sera ’, Rome, 1 November 1988.

[11]
Screenshot from ‘Sea of Roses’ the sand is being unloaded.

[12]
Extract from the in-progress translation of the script of ‘Sea of Roses’, commissioned by If I Can’t Dance to Colin Ginks, 2022.

[13]
Poster design by Maude Vervenne for the research exhibition at Westerdok ‘Bodies Extra-oridinaires’, inspired by a production still from ‘Sea of Roses’ (2022).

Background image
Image from Pauline Curnier Jardin’s film and installation ‘Fat to Ashes’, 2021.

Cursor
Eye cursor from Pauline Curnier Jardin’s artist website.