Taking its title from the poem by Wallace Stevens, the film is composed of a series of attempts at looking and being looked at. Beginning as a city state commission under the name and attitude of “Unschool”, the film became a kaleidoscope of the experiences, questions and wonders of a couple of high school students after a year of experiences with filmmaker Ana Vaz questioning what cinema can be. Here, the camera becomes an instrument of inquiry, a pencil, a song.

Sacris Pulso departs from the dismemberment of another film, "Brasiliários". This film is an interpretation of Clarice Lispector's chronic "Brasília", her vision of the modernist capital, as it is the film which marks the encounter of my mother, playing Lispector, and my father, composer of the film's sound score. Through the juxtaposition of "Brasiliários" with a series of reassembled found footage, the film takes the form of a voyage of remembrance and imagination, of a past and future time dreamt between personal and collected materials, between memory and fiction.

A meditation and a reverie upon a city at once real and imagined. Conceptualized as a documentary on the ZUP buildings in France, the film has instead found form as poetic & expansive confrontation with the psychogeography of a contemporary Europe in crisis. A requiem for a city dreamt between its past and present.

Based on Gertrude Stein’s eponymously named screenplay, written in 1929 as European fascism was building momentum. Beatrice Gibson’s adaptation, set almost a century later in contemporary Paris, deploys Stein’s script as a talismanic guide through a contemporary moment of comparable social and political unrest. An original soundtrack, written especially for the film by British composer Laurence Crane, responds to the repetition, duplication and duality at play in Stein’s script. Both a fictional thriller and an act of collective representation, Deux Soeurs proposes empathy and friendship as means to reckon with an increasingly turbulent present.